EVENING & DAY EDITIONS [Catalogue]

Evening & Day Editions London, 19 January 2017

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50. Jean Dubufet

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43. Julian Opie

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12. Andy Warhol

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Evening & Day Editions London, 19 January 2017, 2pm & 6pm London.

Americas.

Robert Kennan

Anne Schneider-Wilson

Ross Thomas

Cary Leibowitz

Kelly Troester

Jannah Greenblatt

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

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

Specialist rthomas@phillips.com +44 20 7318 4077

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

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

Specialist jgreenblatt@phillips.com +1 212 940 1332

Deputy Chairmen.

Svetlana Marich

Robert Manley

Matt Carey-Williams

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

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

Deputy Chairman +44 20 7318 4089 mcarey-williams@phillips.com

August Uribe

Finn Schouenborg Dombernowsky

Jonathan Crockett

Sam Hines

Alexander Payne

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

Deputy Chairman, Asia and International Head of Watches +852 6773 9315 shines@phillips.com

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

Deputy Chairman, Americas +1 212 940 1208 auribe@phillips.com

Deputy Chairman, Europe and Asia +44 20 7318 4034 fdombernowsky@phillips.com

Auction and Viewing Location 30 Berkeley Square, London W1J 6EX Auctions 19 January 2017 Evening Auction Day Auction

Head of Sale Robert Kennan +44 20 7318 4075 rkennan@phillips.com Lots 1 – 55, 6pm Lots 56 – 219, 2pm

Viewing 12 – 19 January 2017 Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation In sending in written bids or making enquiries please refer to this sale as UK030117 or Editions.

Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@phillips.com

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Modern and Contemporary Editions

Specialists Anne Schneider-Wilson +44 20 7318 4042 aschneider-wilson@phillips.com Ross Thomas +44 20 7318 4077 rthomas@phillips.com Cataloguer Rebecca Tooby-Desmond +44 20 7318 4079 rtooby-desmond@phillips.com Administrator Louisa Earl +44 20 7318 4069 learl@phillips.com

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3. Sybil Andrews

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Evening Editions Lot 1 – 55, 6pm

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1. Georges Braque

1882-1963

Pal (Bouteille de Bass et verre sur une table) (Bass Bottle and Glass on Table), 1911 Etching, on Arches paper, with full margins.

Signed and numbered ‘H.C. 6/6’ in pencil (an hors commerce impression, aside from the edition of 30), published by Maeght, Paris in 1954, framed.

I. 45.5 x 32.5 cm (17 7/8 x 12 3/4 in.)

S. 66 x 50 cm (25 7/8 x 19 5/8 in.)

Estimate £8,000-12,000 $10,100-15,200 €9,500-14,300 Literature Dora Vallier 9

2. Pablo Picasso

1881-1973

Femme Endormie (Sleeping Woman), 1962 Linocut in colours, on Arches paper, with full margins. Signed and annotated ‘Epreuve d’artiste’ in pencil (one of 20 artist’s proofs, the edition was 50), published by Louise Leiris, Paris, framed.

I. 27 x 34.8 cm (10 5/8 x 13 3/4 in.)

S. 44.4 x 62.5 cm (17 1/2 x 24 5/8 in.)

Estimate £15,000-20,000 $19,000-25,300 €17,900-23,900 ♠ Literature Georges Bloch 1083 Brigitte Baer 1319

Provenance Christie's, London, Old Master, Modern, and Contemporary Prints, 20 September, 2006 [Lot 147]

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3. Sybil Andrews

1898-1993

4. Jean Dubufet

1901-1985

The Winch, 1930 Linocut in colours, on cream Japanese laid tissue paper, with wide margins. Signed, titled and numbered 20/50 in pencil in the image (there were also 5 experimental proofs), framed.

I. 21.7 x 29 cm (8 1/2 x 11 3/8 in.)

S. 24.3 x 34.4 cm (9 5/8 x 13 1/2 in.)

Personnage au Chapeau (Person in Hat), 1962 Lithograph in colours, on Arches paper, with full margins (deckle on all sides). Signed, dated and numbered 1/50 in pencil (there were also 2 artist’s proofs), framed.

I. 55 x 38 cm (21 5/8 x 14 7/8 in.)

S. 65 x 50 cm (25 5/8 x 19 5/8 in.)

Estimate £10,000-15,000 $12,700-19,000 €11,900-17,900 ♠

Estimate £10,000-15,000 $12,700-19,000 €11,900-17,900 ♠

Literature Stephen Coppel SA 6

Literature Sophie Webel 810

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5. Rufno Tamayo

1899-1991

15 Aguafuertes: 14 plates, 1975 Fourteen etchings in colours with carborundum, on Guarro paper, the full sheets, loose (as issued), contained in the original blue fabric-covered portfolio. All signed and numbered 8/75 in black crayon (there were also 10 artist’s proofs in Roman numerals), published by Ediciones Polígrafa, Barcelona, lacking Personaje a Contraluz. all S. 82 x 62.5 cm (32 1/4 x 24 5/8 in.)

Estimate £20,000-30,000 $25,300-38,000 €23,900-35,800 ‡

Including: Hombre con Sombrero (Man with Hat); Cabeza con Iniciales (Head with Initials); Personaje en Negro (Person in Black); Cabeza (Cabeza); Personaje en Verde (Person in Green); Mujer en Blanco (Woman in White); Personaje en Blanco (Person in White); Torso (Torso); Manos (Hands); Paisaje (Landscape); Dos Cabezas (Two Heads); Interior con Sandía (Interior with Watermelon); Nocturno (Nocturne); and Personaje, Luna y Estrella (Person, Moon and Star)

Literature Juan Carlos Pereda 170, 172-184

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6. Joan Miró

1893-1983

7. Sam Francis

1923-1994

La Femme des sables (Woman in the Sand), 1969 Etching and aquatint in colours with carborundum, on Arches paper, the full sheet. Signed and numbered 5/75 in pencil, published by Maeght, Paris, framed.

S. 104.8 x 66.5 cm (41 1/4 x 26 1/8 in.)

Untitled, 1984 Monotype in colours, on handmade paper, the full sheet. Signed on the front in pencil and annotated ‘EXP-SF-0894-02’ in pencil on the reverse, published

by Experimental Workshop, San Francisco, framed.

S. 190.2 x 161.3 cm (74.9 x 63.5 in.)

Estimate £10,000-15,000 $12,700-19,000 €11,900-17,900 ♠

Estimate £8,000-12,000 $10,100-15,200 €9,500-14,300 ‡

Literature Jacques Dupin 500

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8. Jackson Pollock

1912-1956

Untitled (M20), circa 1946 Unique screenprint in black, on tan card stock, with margins. From a small group of experimental variants printed between 1941-1946, framed.

A negative of this image, printed on yellow card stock was used on the back dust jacket of Peggy Guggenheim’s 1946 memoir, Out of This Century.

I. 21.5 x 14 cm (8 1/2 x 5 1/2 in.)

S. 28 x 21.7 cm (11 x 8 1/2 in.)

Estimate £50,000-70,000 $63,300-88,700 €59,600-83,500 Provenance Pollock-Krasner House and Study Center, East Hampton, New York Washburn Gallery, New York Jason McCoy Gallery, New York Galerie Aurel Scheibler, Cologne/Berlin, Germany Private Collection, Germany Exhibited Pollock-Krasner House and Study Center, East Hampton, Jackson Pollock: The ‘New Found’ Screenprints, 1 June - 30 July 1995, catalogue no. 10 ARNDT Gallery, Berlin, The Ephemeral, 5 November 2011 - 29 February 2012 Literature see Francis Valentine O’Connor and Eugene Victor Thaw (P6) variant M11 (the present example printed during this time)

Jackson Pollock in his studio, 1950 © The Pollock-Krasner Foundation ARS, NY and DACS, London 2016. Image: Bridgeman Images

‘The strangeness will wear off and I think we will discover the deeper meanings in modern art’ Jackson Pollock

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9. Frank Stella

b. 1936

Waves I and II: six works, 1989 Six screenprints with lithograph and linocut in colours with hand-colouring, marbling and collage, on T.H. Saunders and Somerset paper, the full sheets.

All signed, dated ‘88 and numbered 33/60 in pencil (there were also 10 artist’s proofs), published by Waddington Graphics, London, all unframed. all S. approx. 190 x 139 cm (74 3/4 x 54 3/4 in.)

Estimate £40,000-60,000 $50,700-76,000 €47,700-71,600 ‡ Literature Richard Axsom and Leah Kolb 186-188, 192-193 and 197

Including: The Great Heidelburgh Tun; The Pacifc; Squid; Ahab; Hark!; and A Squeeze of the Hand

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‘Before the world is changed it would perhaps be more appropriate not to destroy it’ Paul Claudel

10. Various Artists Columbus: In Search of a New Tomorrow, 1992 The complete set of 35 prints in various media, one bronze sculpture, 4 CDs, and one book, all items loose (as issued), contained in the original two green linencovered portfolios. All signed and annotated ‘A.P.’ in various media (an artist’s proof, the edition was 100), co-published by Edition Domberger (with their blindstamp) and Artists United for Nature, Munich.

79.7 x 61 cm (31 3/8 x 24 in.)

Estimate £15,000-18,000 $19,000-22,800 €17,900-21,500 ♠ ‡

Please refer to online catalogue for complete listing

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11. Robert Cottingham

b. 1935

American Signs, 2009 The complete set of 12 screenprints in colours, on wove paper, with full margins, the sheets loose (as issued), contained in the original grey fabric-covered box with artist and title embossed with gold foil. All sheets signed, titled, dated and numbered 11/100 in pencil, published by American Images Atelier, New York.

101.5 x 99 cm (39 7/8 x 38 7/8 in.)

Estimate ÂŁ8,000-12,000 $10,100-15,200 â‚Ź9,500-14,300

Including: Star; American Hi-Fi; Champagne; Boulevard Drinks; Hot; M; Nite; Hi; Fox; Rialto; Art; and Blues

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Property from an important European Collection

12. Andy Warhol

1928-1987

Flash - November 22, 1963, 1968 The complete set of 11 screenprints in colours, on wove paper, the full sheets, with individual paper folders with printed text and original linen-covered portfolio screenprinted in silver. All signed and 10 numbered 146/200 in blue ball-point pen on the reverse, one sheet incorrectly numbered 144/146 at the time of publishing (there was also an edition of 26 in Roman numerals), published by Racolin Press, Inc., Briarclif Manor, New York, lacking the numbered colophon and original Plexiglas case, all framed.

56.8 x 56.8 cm (22 3/8 x 22 3/8 in.)

Estimate £40,000-60,000 $50,700-76,000 €47,700-71,600 Literature Frayda Feldman and Jörg Schellmann 32-42

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13. Andy Warhol

1928-1987

Liz, 1964 Ofset lithograph in colours, on wove paper, with full margins. Signed and dated in blue ball-point pen (one of approximately 300 signed and dated), published by Leo Castelli Gallery, New York, the colours strong and vibrant, framed.

I. 56 x 55.6 cm (22 x 21 7/8 in.)

S. 58.9 x 58.6 cm (23 1/4 x 23 1/8 in.)

Estimate £20,000-30,000 $25,300-38,000 €23,900-35,800 Literature Frayda Feldman and Jörg Schellmann 7 Provenance Coskun Fine Art, London

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Property from an important European Collection

14. Andy Warhol

1928-1987

Tomato Soup, from Campbell’s Soup I, 1968 Screenprint in colours, on wove paper, with full margins.

Signed in black ball-point pen and stamp-numbered 246/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed.

I. 84 x 48 cm (33 1/8 x 18 7/8 in.)

S. 89 x 58.6 cm (35 x 23 1/8 in.)

Estimate £40,000-60,000 $50,700-76,000 €47,700-71,600 Literature Frayda Feldman and Jörg Schellmann 46 Provenance Coskun Fine Art, London

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Property from an important European Collection

15. Andy Warhol

1928-1987

Cheddar Cheese, from Campbell’s Soup II, 1969 Screenprint in colours, on wove paper, with full margins. Signed in black ball-point pen and stamp-numbered 92/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed.

I. 80.7 x 48 cm (31 3/4 x 18 7/8 in.)

S. 88.6 x 58.4 cm (34 7/8 x 22 7/8 in.)

Estimate £10,000-15,000 $12,700-19,000 €11,900-17,900 Literature Frayda Feldman and Jörg Schellmann 63

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Property from an important European Collection

16. Andy Warhol

1928-1987

Electric Chairs, 1971 The complete set of 10 screenprints in colours, on wove paper, the full sheets. All signed and dated in black ball-point pen and stamp-numbered 079/250 on the reverse (there were also 50 artist’s proofs in Roman numerals), published by Bruno Bischoferger, Zurich (with their and the printer’s copyright inkstamps on the reverse), all framed. all S. 89.9 x 121.4 cm (35 3/8 x 47 3/4 in.)

Estimate £100,000-150,000 $127,000-190,000 €119,000-179,000 Literature Frayda Feldman and Jörg Schellmann 74-83

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17. Andy Warhol

1928-1987

New Coke, circa 1985 Unique screenprint in colours, with graphic art paper collage, on wove paper, the full sheet. From a small number of proof impressions (most without collage) for an unrealised June 1985 Time cover, with the Estate of Andy Warhol inkstamp and with the number ‘3.023’ and the initials ‘VF’ in pencil on the reverse, printed by Rupert Jason Smith, New York, framed.

S. 80 x 60 cm (31 1/2 x 23 5/8 in.)

Provenance Coskun Fine Art, London Phillips, London, Contemporary Art Day Sale, 18 February 2011, lot 245 Private Collection, London Literature see Frayda Feldman and Jörg Schellmann IIIB.44

Estimate £20,000-30,000 $25,300-38,000 €23,900-35,800

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18. Andy Warhol

1928-1987

Vesuvius, 1985 Screenprint in colours, on Arches 88 paper, the full sheet. Signed and numbered 225/250 in pencil (there were also 50 artist’s proofs), published by Fondazione Amelio, Naples (with their and the artist’s copyright inkstamps on the reverse), framed.

S. 79.8 x 99.8 cm (31 3/8 x 39 1/4 in.)

Estimate £20,000-30,000 $25,300-38,000 €23,900-35,800 Literature Frayda Feldman and Jörg Schellmann 365

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19. Francis Bacon

1909-1992

Étude pour une corrida (afer Study for Bullfght No. 1, 1969), 1971 Lithograph in colours, on Arches paper, with full margins. Signed in black felt-tip pen and numbered 35/150 in pencil (there were no known artist’s proofs), published by the musée du Grand Palais, Paris, for the retrospective of 1971, framed.

I. 127 x 115 cm (50 x 45 1/4 in.)

S. 159.8 x 120 cm (62 7/8 x 47 1/4 in.)

Estimate £40,000-60,000 $50,700-76,000 €47,700-71,600 ♠ Literature Bruno Sabatier 10 Alexandre Tacou 2

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20. Francis Bacon

1909-1992

Portrait of Peter Beard, 1976 Etching and aquatint in colours, on Arches paper, with full margins. Signed and numbered ‘E.a. 7/10’ in pencil (an artist’s proof, the edition was 100 and 45 in Roman numerals), published by Georges Visat, Paris, framed.

I. 26.4 x 22.7 cm (10 3/8 x 8 7/8 in.)

S. 38 x 28.8 cm (14 7/8 x 11 3/8 in.)

Estimate £8,000-12,000 $10,100-15,200 €9,500-14,300 ♠ Literature Bruno Sabatier 1 Alexandre Tacou 33

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21. Lucian Freud

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1922-2011

22. David Hockney

b. 1937

Girl Holding Her Foot, 1985 Etching, on Somerset Satin paper, with full margins.

Signed with initials and numbered 38/50 in pencil (there were also 15 artist’s proofs), co-published in 1986 by James Kirkman, London, and Brooke Alexander, New York, framed.

I. 69 x 54 cm (27 1/8 x 21 1/4 in.)

S. 88 x 71 cm (34 5/8 x 27 7/8 in.)

Lillies, from Europäische Graphik No VII, 1971 Lithograph in colours, on Arches paper, the full sheet. Signed, dated and numbered 1/65 in pencil (there were also 18 artist’s proofs and 35 impressions on Japanese paper in Roman numerals), published by Galerie Wolfgang Ketterer, Munich (with their blindstamp), unframed.

S. 65.7 x 50.2 cm (25 7/8 x 19 3/4 in.)

Estimate £15,000-20,000 $19,000-25,300 €17,900-23,900 ♠

Estimate £8,000-12,000 $10,100-15,200 €9,500-14,300 ♠

Literature Craig Hartley 25 Bruce Bernard and Derek Birdsall 200

Literature Scottish Arts Council 118 Ketterer Editionsverzeichnis 101

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David Hockney: Paper Pools

by Marco Livingstone

David Hockney’s Paper Pools, a sustained series of works made from coloured and pressed paper pulp, were made between August and October 1978 during six weeks of feverish activity at Tyler Graphics Ltd, the studios near Mount Kisco, NY, run by the master printer Kenneth Tyler; the artist had previously worked with him on lithographs at his Gemini workshop in Los Angeles. During this brief period he produced 29 separate images, some in multiple versions, beginning with singlesheet images such as those presented here before eventually expanding to the 12 conjoined sheets of Le Plongeur (Paper Pool 18, in the collection of Cartwright Hall, Bradford) and A Large Diver (Paper Pool 27), each of which measures 183 x 434 cm overall.

The entire group of pictures, in a medium recently devised by Tyler and used by Hockney only this one time in his life during an extraordinary burst of creative energy, came about spontaneously, almost by chance. Stopping of in New York City en route from London to Los Angeles, where he was about to resettle afer years of absence, Hockney was persuaded to make a detour to visit his old friend and was soon seduced into trying his hand at a medium with which three American abstract painters admired by Hockney, Ellsworth Kelly, Kenneth Noland and Frank Stella, had already experimented. As on other occasions when he has stopped momentarily working in isolation in his painter’s studio and engaged in a collaborative efort, as he has when visiting print workshops or designing for the opera, the conviviality of the working situation and the creative input and encouragement ofered by others also proved decisive factors in drawing out the best from him.

Having sufered from several years of creative block in the mid-1970s, when his dedication to a more naturalistic style appeared to be leading him to a dead end, Hockney had begun to fnd a way forward to a more expansive vision through his stage designs for two opera productions at Glyndebourne in West Sussex – Stravinsky’s The Rake’s Progress in 1974-5 and Mozart’s The Magic Flute in 1977-8 – that encouraged him to engage in a greater simplifcation and to work on a much larger scale that completely immersed the spectator. Those intense interludes in the theatre proved decisive in preparing him to paint with a new vigour.

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Hockney was immediately delighted by the possibilities ofered by the unconventional paper pulp medium – not quite printmaking in a conventional sense, but also distinct from the tradition of oil painting – to return to a freer and much more spontaneous way of making images. (On the artist’s ofcial website, the Paper Pools are reproduced not in the graphic section but as paintings.) Working with vats of wet pulped rags immersed in diferent dyes, which were then ladled liberally or applied with a variety of other tools into galvanised sheet metal moulds (corresponding to the artist’s full-scale outline drawings) onto still-wet surfaces of newly fabricated paper, he was encouraged to compose bold, simplifed designs that released him from the constraints of a detailed fdelity to appearances.

The moulds were removed and fnal adjustments made by hand before the resulting sheets, heavy with liquid pulp, were squeezed and fattened in hydraulic presses. The patterns or marks applied over the top of the base image, particularly in the swimming-pool pictures, subtly transform the diferent versions made with the same moulds into unique variations, each with its particular qualities of light, hue, surface and implied movement.

The necessity for extreme simplifcation of form and economy of expression led to the most spirited group of pictures he had made in years. As with Matisse’s late paper cut-outs, which he admired, the discovery of a new method of working resulted in a remarkable renewal of Hockney’s art.

Always excited by the exploration of an unfamiliar medium and by his understanding of how best to exploit its characteristics, Hockney immediately responded also to the lure of the intense colours, which did not just sit on the surface but were physically impregnated into it. His enthusiasm is straightforwardly conveyed in his text for the Paper Pools book published by Thames & Hudson in 1980:

‘I love new mediums and this was something I had never seen or used before. I think mediums can turn you on, they can excite you: they always let you do something in a diferent way, even if you make the same subject…I like that’ David Hockney

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David Hockney spoons colour pulp into a cookie-cutter mould for Sunfower 1, from the Paper Pools series, Tyler Workshop Ltd. paper mill, Bedford Village, New York, 1978 Photographer: Larry Stanton National Gallery of Australia, Canberra Gif of Kenneth Tyler, 2002

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Vincent van Gogh Sunfowers, 1888 Oil on canvas © Gogh, Vincent van (1853-90), National Gallery, London, UK, Bridgeman Images

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Van Gogh was much on Hockney’s mind at the time.

A reproduction of a celebrated version of that artist’s Sunfowers (painted in 1888) appears prominently in a painting of 1977, Looking at Pictures on a Screen, as one of four favourite images from the collection of the National Gallery in London being scrutinised by the American curator Henry Geldzahler. While at Mount Kisco Hockney made drawings of Tyler and others at work using sepia ink and the sort of reed pens used by Vincent nearly a century earlier, a technique he had begun to explore in early 1978 as part of the same urge to a greater looseness and energy of line and form.

For his frst paper pulp experiments he decided on the very motif so closely associated with that artist – a single sunfower in a vase – but to remake it decisively in his own voice.

‘He was stunned to fnd that with just a few shapes he could convey the look of the plant, leaving out stems and other details so that the entire image could be achieved through sugestion alone’ David Hockney

Just over a decade earlier Hockney had produced a small number of acrylic paintings featuring Los Angeles swimming pools, such as Peter Getting out of Nick’s Pool 1966 (National Museums on Merseyside) and A Bigger Splash 1967 (Tate) which together not only crystallised his hedonistic vision of southern California but became synonymous with his name.

He had made a conscious decision not to continue using that motif out of fear of repeating himself, making a rare return to it in 1972 for his painting Portrait of an Artist (Pool with Two Figures). Yet the daily sight of Tyler’s pool proved irresistible, and it soon became the subject of Steps with Shadow, based in part on the visual evidence he had accumulated in photographs he had taken with a Polaroid SX-70 camera of the circular steps descending from the corner of Tyler’s pool.

These highly condensed studies, which suggest the passage of light through and across diferent depths of water, led in turn to larger and more elaborate multi-sheet compositions representing the swimming pool from diferent vantage points and at diferent times of day. Released from the mimetic constraints of naturalism, Hockney was particularly free to indulge his tendencies to abstraction, secure in the knowledge that the strength of the containing image lef him many options of improvising within it: in these pictures one can fnd traces of post-painterly abstraction, of the ‘staining’ techniques of Morris Louis and Helen Frankenthaler, even of the belle peinture of the French tachiste painters of the 1950s

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and of the late Abstract Expressionsim of Sam Francis. The human fgure, so central to his art, appears in some of these in single sheets that represent his then lover, Gregory Evans –perched on the edge of the pool, his fesh kneaded by hand out of pink pulp – and in multi-sheet compositions in the guise of an underwater swimmer.

During his long and unremittingly productive career Hockney has periodically alighted on a new medium that has so engaged and re-energised him that he has compulsively produced a completely new and separate body of work in a confned period of time. This was later to prove the case with his Polaroid photocollages (see lot 26) and 35mm ‘joiners’ of 1982-6, with the ‘home-made prints’ produced on ofce-quality photocopiers of the mid-1980s, with the pencil portraits made with the aid of a camera lucida in 1999, with the prolonged series of large portraits from life in watercolour in 2002-3 and more recently with the images drawn either on a computer with a tablet pen and Wacom graphic tablet or (much frequently) with his thumb or a stylus on the screen of iPhones and iPads (many of these subsequently translated into editioned prints on paper, see lots 27 and 28). The Paper Pools, which mark an important watershed in Hockney’s career, constitute the frst such case, though his earlier forays into printmaking, particularly in etching and lithography, had also proved decisive in changing the course of his art, if in less obviously dramatic ways.

The Paper Pools were not created as conventional editions of identical impressions. That would have been an impossibility, given that each one had to be improvised with the coloured pulp within the broad outlines of the moulds. Every single picture is thus a unique variant, one moreover that exploits to the full the delicious materiality of the medium. One of the great joys of this prolonged experiment, which was to have a permanent impact on Hockney’s later exploitation of bold forms and intense colour, was the natural marriage with a subject that had preoccupied him in his frst swimming pool paintings 14 years earlier: the refraction of light through gently moving water. The opportunity to depict water through a medium that was itself literally fuid led him to fnd new and ofen visually witty solutions to problems of depiction that had preoccupied him for so long, and through this joyous experience to reinvent his art as a life-afrming spectacle infused in a succulent, almost technicolour, brilliance.

The Paper Pools, though produced in such a short period and in a medium to which he never returned, constitute a thrilling episode in Hockney’s work. Each of these pictures is a testament to his quick-witted response to the stimulation of the visible world, conveyed through the sensory materiality of the physical incarnation of pure colour so defly manipulated by his hands.

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Property from an important American Collection

23. David Hockney

b. 1937

Steps with Shadow F (Paper Pool 2), 1978 Unique hand-coloured pressed paper pulp, on white TGL handmade paper, the full sheet.

Signed with initials and dated in white ink on the front and annotated ‘2-F’ in pencil on the reverse (one of 16 variants), published by Tyler Graphics Ltd., Mount Kisco, New York (with their inkstamp), framed.

S. 128.3 x 85.1 cm (50 1/2 x 33 1/2 in.)

Estimate £400,000-600,000 $503,000-754,000 €477,000-715,000 ‡ ♠ Literature Tyler Graphics 237 Nikos Stangos, David Hockney: paper pools, Thames & Hudson, London, 1980, pp. 26-27 Provenance Tyler Graphics Ltd., New York

David Hockney applies colour pulp with a turkey baster into cookie-cutter mould for Steps with Shadow from his Paper Pools series, Tyler Workshop Ltd. paper mill, Bedford Village, New York, 1978 Photographer: Lindsay Green National Gallery of Australia, Canberra Gif of Kenneth Tyler, 2002

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Kenneth Tyler, Lindsay Green and David Hockney hugging in front of Gregory in the pool I paper pulp work from Hockney’s Paper pools series, Tyler Graphics Ltd., Bedford Village, New York, 1978 Photographer: Gregory Evans National Gallery of Australia, Canberra Gif of Kenneth Tyler, 2002

Property from an important American Collection

24. David Hockney

b. 1937

Gregory in the Pool E (Paper Pool 4), 1978 Unique hand-coloured pressed paper pulp, on white TGL handmade paper, the full sheet.

Signed with initials and dated in white ink on the front and annotated ‘4-E’ in pencil on the reverse (one of 20 variants), published by Tyler Graphics Ltd., Mount Kisco, New York (with their inkstamp), framed.

S. 81.3 x 127 cm (32 x 50 in.)

Estimate £400,000-600,000 $507,000-760,000 €477,000-716,000 ‡ ♠ Literature Tyler Graphics 239 Nikos Stangos, David Hockney: paper pools, Thames & Hudson, London, 1980, pp. 34-37 Provenance Tyler Graphics Ltd., New York

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Property from an important American Collection

25. David Hockney

b. 1937

Sunfower H (Paper Pool I), 1978 Unique hand-coloured pressed paper pulp, on yellow TGL handmade paper, the full sheet. Signed with initials and dated in pencil on the front and annotated ‘I-H’ in pencil on the reverse (one of 17 variants), published by Tyler Graphics Ltd., Mount Kisco, New York (with their inkstamp), framed.

S. 106.7 x 81.3 cm (42 x 32 in.)

Estimate £30,000-50,000 $38,000-63,300 €35,800-59,600 ‡ ♠ Literature Tyler Graphics 236 Nikos Stangos, David Hockney: paper pools, Thames & Hudson, London, 1980, pp. 20-23 Provenance Tyler Graphics Ltd., New York

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26. David Hockney

b. 1937

Luncheon at the British Embassy, Tokyo, February 16th 1983, 1983 Photographic collage, on green wove paper, the full sheet, contained in a natural wooden frame specifed by the artist. Signed, titled, dated and numbered '#17' in white ink, from the edition of 20, published by the artist. frame 118.5 x 213 cm (46 5/8 x 83 7/8 in.)

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Estimate £25,000-35,000 $31,700-44,300 €29,800-41,700 ♠ Literature Paul Joyce, Hockney on Photography: Conversations with Paul Joyce, London, 1988, pp. 124-126 David Hockney: A Retrospective, exh. cat., Los Angeles County Museum of Art, 4 February - 24 April, 1988, cat no. 89

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27 . David Hockney

b. 1937

1 April, from The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven), 2011 iPad drawing in colours, printed on wove paper, with full margins. Signed, dated and numbered 23/25 in pencil, published by the artist, framed.

I. 127 x 95 cm (50 x 37 3/8 in.)

S. 139.7 x 105.4 cm (54 7/8 x 41 1/2 in.)

Estimate £25,000-35,000 $31,700-44,300 €29,800-41,700 ♠

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28. David Hockney

b. 1937

19 May, from The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven), 2011 iPad drawing in colours, printed on wove paper, with full margins. Signed, dated and numbered 22/25 in pencil, published by the artist, framed.

I. 127 x 95 cm (50 x 37 3/8 in.)

S. 139.7 x 105.4 cm (54 7/8 x 41 1/2 in.)

Estimate £25,000-35,000 $31,700-44,300 €29,800-41,700 ♠

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29. Jasper Johns

b. 1930

The Seasons, 1989 Etching and aquatint, on Arches paper, with full margins. Signed, dated and numbered 16/54 in pencil (there were also 12 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), framed.

I. 49 x 130 cm (19 1/4 x 51 1/8 in.)

S. 68.6 x 148.8 cm (27 x 58 5/8 in.)

Estimate £10,000-15,000 $12,700-19,000 €11,900-17,900 Literature Universal Limited Art Editions 244

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30. Bridget Riley

b. 1931

Magenta and Blue; Magenta and Green; and Magenta and Yellow, 2002 Three screenprints in colours, on wove paper, with full margins. All signed, titled, dated and numbered 8/75, 6/75 and 7/75 respectively in pencil (there were also 10 artist’s proofs), all framed. all I. 86.4 x 56.5 cm (34 x 22 1/4 in.) all S. 108.4 x 74.7 cm (42 5/8 x 29 3/8 in.)

Estimate £6,000-8,000 $7,600-10,100 €7,200-9,500 ♠ † Literature Karsten Schubert 48-50

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31. Damien Hirst

b. 1965

Pyronin Y, 2005 Etching and aquatint in colours from the pair of two prints, on Hahnemühle paper, with full margins.

Signed on the front in pencil and numbered 20/65 in pencil on the reverse (there were also 20 artist’s proofs), published by The Paragon Press, London, unframed.

I. 58.5 x 73.5 cm (23 x 28 7/8 in.)

S. 103.4 x 116 cm (40 5/8 x 45 5/8 in.)

Estimate £8,000-12,000 $10,100-15,200 €9,500-14,300 ♠ † Literature The Paragon Press 2001-2006 p. 258

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32. Damien Hirst

b. 1965

Tetrahydrocannabinol, 2004 Etching and aquatint in colours, on Hahnemühle paper, with full margins. Signed and numbered 72/115 in pencil (there were also 25 artist’s proofs), published by The Paragon Press, London, framed.

I. 86.3 x 177.5 cm (33 7/8 x 69 7/8 in.)

S. 112 x 200.6 cm (44 1/8 x 78 7/8 in.)

Estimate £10,000-15,000 $12,700-19,000 €11,900-17,900 ♠

33. Damien Hirst

b. 1965

Methylamine-13c, 2014 Screenprint in colours with diamond dust, on Somerset paper, the full sheet. Signed and numbered 69/100 in pencil on the reverse, published by Paul Stolper, London, framed.

S. 83.4 x 68.5 cm (32 7/8 x 26 7/8 in.)

Estimate £8,000-10,000 $10,100-12,700 €9,500-11,900 ♠

Literature The Paragon Press 2001-2006 pp. 140-141.

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34. Damien Hirst

b. 1965

In a spin, the action of the world on things, Volume II, 2002 The complete set of 14 etchings in colours, on Hahnemühle paper, with full margins, with the accompanying photograph of the night sky and original portfolio with a unique spin painting in household paint and screenprinted text on the cover. All etchings signed in pencil (In The Groove signed twice), the photograph signed with black ink, from the edition of 68 (there were also 12 artist’s proofs), published by The Paragon Press, London, all framed, lacking the numbered colophon. etchings, all I. various sizes, all S. 112 x 91.5cm (44 x 36 in.) one horizontal painted portfolio 117.5 x 95.5 cm (46 1/4 x 37 5/8 in.)

Estimate £20,000-30,000 $25,300-38,000 €23,900-35,800 ♠ ‡ Literature The Paragon Press 2001-2006 pp. 88-97

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35. Damien Hirst

b. 1965

Mickey (Blue Glitter), 2016 Screenprint in colours with glitter, on wove paper, the full sheet. Signed and numbered 6/50 in pencil on the reverse (there were also 10 artist’s proofs), with the artist’s inkstamp on the reverse, published

by Other Critieria, Ltd., London, framed.

S. 152.4 x 122.4 cm (59 7/8 x 48 1/4 in.)

Estimate £15,000-20,000 $19,000-25,300 €17,900-23,900 ♠

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21/12/16 09:22

36. Damien Hirst

b. 1965

Minnie (Pink Glitter), 2016 Screenprint in colours with glitter, on wove paper, the full sheet. Signed and numbered 6/50 in pencil on the reverse (there were also 10 artist’s proofs), with the artist’s inkstamp on the reverse, published by Other Criteria, Ltd., London, framed.

S. 152.4 x 122.4 cm (59 7/8 x 48 1/4 in.)

Estimate £15,000-20,000 $19,000-25,300 €17,900-23,900 ♠

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37. Damien Hirst

b. 1965

Mickey, 2014 Screenprint in colours with glaze, on wove paper, with full margins. Signed and numbered 9/50 in pencil (there were also 10 artist’s proofs), published by Other Criteria, Ltd., London (with their and the artist’s blindstamps), framed.

I. 147 x 84 cm (57 7/8 x 33 1/8 in.)

S. 152.4 x 122.3 cm (60 x 48 1/8 in.)

Estimate £25,000-35,000 $31,700-44,300 €29,800-41,700 ♠

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38. Keith Haring

1958-1990

Untitled (Man on Dolphin), 1987 Lithograph, on wove paper, with full margins.

Signed, dated, and numbered ‘AP 21/25’ in red pencil (an artist’s proof, the edition was 170), framed.

I. 25 x 31 cm (9 7/8 x 12 1/4 in.)

S. 29 x 35 cm (11 3/8 x 13 3/4 in.)

Estimate £7,000-10,000 $8,900-12,700 €8,300-11,900 ‡ Literature Klaus Littmann p. 84

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39. Keith Haring

1958-1990

Icons, 1990 The complete set of fve screenprints in colours with embossing, on Arches Cover paper, the full sheets, all contained in the original red linen-covered portfolio.

All numbered 47/250 in pencil (there were also 25 artist’s proofs), signed and dated ‘6/28/90’ by Julia Gruen (Executor for the Keith Haring Estate) in pencil with the estate stamp on the reverse, published by Tony Shafrazi Editions Inc., New York.

57.2 x 67.3 cm (22 ½ x 26 ½ in.)

Estimate £25,000-35,000 $31,700-44,300 €29,800-41,700 ‡ Literature Klaus Littmann pp. 170-171

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40. Grayson Perry

b. 1960

Map of Days, 2013 Etching from four plates, printed on one sheet of wove paper, with full margins. Signed and numbered 19/68 in pencil, published by The Paragon Press, London, framed.

I. 109.5 x 150.5 cm (43 1/8 x 59 1/4 in.)

S. 111 x 151.3 cm (43 3/4 x 59 5/8 in.)

Estimate £20,000-30,000 $25,300-38,000 €23,900-35,800 ♠ †

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21/12/16 09:23

41. Grayson Perry

b. 1960

Print for a Politician, 2005 Etching from three plates, printed on one sheet of Rives Velin paper, with full margins. Signed and numbered 47/59 in pencil on the reverse (there were also 10 artist’s proofs), published by The Paragon Press, London, framed.

I. 59.5 x 243.5 cm (23 3/8 x 95 7/8 in.)

S. 67 x 249.5 cm (26 3/8 x 98 1/4 in.)

Estimate £25,000-35,000 $31,700-44,300 €29,800-41,700 ♠ Literature The Paragon Press 2001-2006 pp. 198-199

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42. Julian Opie

b. 1958

Walking in the Rain, London, 2015 Screenprint in colours, on Somerset Satin paper, with full margins, contained in a brushed aluminium frame specifed by the artist. Signed and numbered 5/50 in pencil on the reverse (there were also 10 artist’s proofs), published by Alan Cristea Gallery, London. frame 157.7 x 223.5 cm (62 1/8 x 87 7/8 in.)

Estimate £12,000-18,000 $15,200-22,800 €14,300-21,500 ‡ ♠ Literature Alan Cristea 281

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43. Julian Opie

b. 1958

Walking in the Rain, Seoul, 2015 Screenprint in colours, on Somerset Satin paper, with full margins, contained in a brushed aluminium frame specifed by the artist. Signed and numbered 5/50 in pencil on the reverse (there were also 10 artist’s proofs), published by Alan Cristea Gallery, London. frame 154.7 x 223.5 cm (60 7/8 x 87 7/8 in.)

Estimate £12,000-18,000 $15,200-22,800 €14,300-21,500 ‡ ♠ Literature Alan Cristea 282

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44. Julian Opie

b. 1958

45. Robert Longo

b. 1953

Tourists, 2014 The complete set of six screenprints with hand-painting on Somerset Velvet paper, with full margins, all contained in sprayed white wooden frames specifed by the artist.

All signed and numbered 6/20 in pencil on the reverse (there were also 7 artist’s proofs), published by Alan Cristea Gallery, London. frames 78 x 104.6 cm (30 3/4 x 41 1/8 in.)

Untitled (Iceman X), 2012 Archival pigment print, on Epson Hot-Pressed paper, with full margins. Signed, dated and numbered 14/25 in pencil (there were also 5 artist’s proofs), published by Adamson Editions, Washington D.C., framed.

I. 98.8 x 78 cm (38 7/8 x 30 3/4 in.)

S. 121.8 x 96.2 cm (47 7/8 x 37 7/8 in.)

Estimate £20,000-30,000 $25,300-38,000 €23,900-35,800 ‡ ♠

Estimate £12,000-18,000 $15,200-22,800 €14,300-21,500

Literature Alan Cristea 274-279

Including: Tourist with Beard; Tourist with Child; Tourist with Ponytail; Tourist with Phone; Tourist with Watch; and Tourist with Blouse

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46. Christopher Wool

b. 1955

My House I, 2000 Screenprint in colours, on Matt Custom Art paper, with full margins. Signed, dated and numbered 44/100 in pencil (there were also 20 artist’s proofs), published by Counter Editions, London, framed.

I. 99 x 73.6 cm (38 7/8 x 28 7/8 in.)

S. 101.3 x 75.8 cm (39 7/8 x 29 7/8 in.)

Estimate £10,000-15,000 $12,700-19,000 €11,900-17,900

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47. Christopher Wool

b. 1955

Black Book, 1989 Hardcover book, with 17 text images, on smooth wove paper, the full sheets, bound (as issued). Signed, numbered 255 /350 and inscribed ‘For Caroline/ Christopher June 1992’ in black ink on the fnal page (there were also 8 artist’s proofs), co-published by Gisela Capitain, Cologne and Thea Westreich, New York.

58.8 x 41 cm (23 1/8 x 16 1/8 in.)

Estimate £12,000-18,000 $15,200-22,000 €14,300-21,500

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49. Gerhard Richter and Isa Genzken

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Defning Editions: The Multiple Thought to have been coined by Denise René around 1962, but seen as early as 1914 in the works of Marcel Duchamp, the term ‘multiple’ is now broadly used to describe typically three-dimensional works produced in an edition. Beginning with avant-garde European and American artists in the early 1960s, editioned multiples eschew the individual’s touch in favour of multiplicity and the dissemination of ideas. Confronting the traditional notion of an art object, multiples allow artists to experiment with new materials and processes, as well as ofering the opportunity to infuse new meaning into everyday objects.

These early artistic experiments paved the way for a new genre of visual expression that embodies progressive artistic sensibilities: a desire to disrupt conventional form and to articulate a new proto-conceptual visual language.

The following lots represent some of the varied examples of editioned multiples. Ranging from the monumental to the hand-held, imbued with humour and with a maverick approach to technique and medium, these works demonstrate the innovative spirit of their makers. Some objects seem familiar, almost domestic: a glass bottle by Marcel Broodthaers (lot 52) or a suit by Joseph Beuys (lot 55) for example. Others appear more conceptual, such as the Gerhard Richter and Isa Genzken record (lot 49), whilst further works delight the eye with iridescent surfaces and vibrant colours.

All defy expectation and engage the senses in a visceral manner that cannot be replicated in two-dimensional form. The viewer is confronted in their own space - their curiosity ignited, and a response demanded.

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48. Tom Wesselmann

1931-2004

1964 Radio Edition, 1991 Cut-out steel multiple, painted with alkyd oil in colours.

Signed and numbered 11/25 with an electric engraving tool on the reverse (there were also 6 artist’s proofs), further signed, titled, dated and numbered in black ink on the reverse, one of only 12 copies from the edition signed by the artist, copies 13-25/25 and 4 hors commerce were later signed by the Tom Wesselmann Estate, published by the artist and Sidney Janis Gallery, New York, unframed.

75.1 x 95.2 x .2 cm (29 5/8 x 37 1/2 x 0 1/8 in.)

Estimate £15,000-20,000 $19,000-25,300 €17,900-23,900

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49. Gerhard Richter and Isa Genzken b. 1932 and b. 1948 Tri-Star, 1981 Phonograph record by Isa Genzken, featuring noises made by a Tri-Star aeroplane motor, one side painted by Gerhard Richter with grey nitro lacquer, with the original black cardboard record sleeve. Signed and dated in black ink on the grey nitro lacquer and numbered 28/75 in black ink on the yellow label afxed to the reverse, published by Isa Genzken and Gerhard Richter, Düsseldorf, framed.

17.5 cm (6 7/8 in.) diameter Estimate £7,000-9,000 $8,900-11,400 €8,300-10,700 ♠ Literature Hubertus Butin 57

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50. Jean Dubufet

1901-1985

Le Tétrascopique, 1970-71 Four panels of polyvinyl chloride screenprinted in colours on both sides, with metal stand. Signed with initials, dated and numbered 26/45 in black ink on the reverse of one panel (there were also 5 hors commerce examples in Roman numerals).

97.5 x 51 x 50 cm (38 3/8 x 20 1/8 x 19 5/8 in.)

Estimate £25,000-35,000 $31,700-44,300 €29,800-41,700 ♠ Literature Sophie Webel 1097 Max Loreau, Catalogue des travaux de Jean Dubufet, fascicule XXV: Arbres, murs, architectures, Paris, 1974, p. 76, no. 77.

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51. Lucio Fontana

1899-1968

Concetto Spaziale, 1966 Perforated silver foil-wrapped cardboard multiple.

With incised signature and numbering 19/30, published by Scheiwiller, Milan.

37.5 x 10 x 10 cm (14 3/4 x 3 7/8 x 3 7/8 in) Estimate £10,000-15,000 $12,700-19,000 €11,900-17,900 ♠ Literature Harry Ruhé and Camillo Rigo M-2 Vittorio Gregotti, ‘Avanguardie nella produzione di serie’, Arte fgurative, Milan, 1966 (illustrated)

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52. Marcel Broodthaers

1924-1976

Le Manuscrit trouvé dans une bouteille (The Manuscript Found in a Bottle), 1974 Glass bottle with printed title, tissue paper with printed text, and cardboard box. Signed with initials and numbered 32/120 in blue ink on the sheet of tissue paper, published by Edition René Block, Berlin. box with bottle: 30.5 x 7.7 x 8 cm (12 x 3 1/ 16 x 3 1/8”) sheet (tissue): 48.5 x 36.5 cm (19 1/8 x 14 3/8”) Estimate £7,000-9,000 $8,900-11,400 €8,300-10,700 ♠

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53. Jef Koons

b. 1955

Dom Pérignon Balloon Venus (Magenta), 2013 Lacquered polyurethane resin in two parts, with Dom Pérignon Rosé Vintage 2003, and maintenance kit, contained in the original custom fight case. With impressed signature on the suede interior lining of the lower part, from the edition of 650 (there were also 40 artist’s proofs).

49 x 35.8 x 50.4 cm (19 1/4 x 14 1/8 x 19 7/8 in.)

Estimate £25,000-35,000 $31,700-44,300 €29,800-41,700 ‡

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54. Jef Koons

b. 1955

Seated Ballerina (Wood), 2015 Carved wooden sculpture, hand-painted with oil paints in colours, contained in the original foam-lined white card box with the artist’s name printed on the lid. With incised signature, date and numbering 38/50 on the underside (there were also 10 artist’s proofs), commissioned by the Israel Museum, Jerusalem on the occasion of the Museum’s 50th anniversary.

45.7 x 43.3 x 24.6 cm (18 x 17 x 9 3/4 in.)

Estimate £50,000-70,000 $63,300-88,700 €59,600-83,500

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Property from an important German Collection

55. Joseph Beuys

1921-1986

Filzanzug (Felt Suit), 1970 Hand-sewn felt suit, with the original cardboard box.

Numbered ‘1’ in black ink on a label afxed to the inside of the jacket (the edition was 100 and 10 hors commerce examples), further signed, titled, dated and numbered

by René Block in blue ink on a label afxed to the inside of the box, published by Galerie René Block, Berlin. jacket: 83.8 x 63.5 cm (32 7/8 x 25 in.) trousers: 114.6 x 58.4 cm (45 1/8 x 22 7/8 in.)

Estimate £50,000-70,000 $63,300-88,700 €59,600-83,500 ♠ Literature Edition Schellmann 26

‘If you have all of my multiples, then you have me completely.’

Joseph Beuys

Label afxed to original box

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67.

X. X Various Artists

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Day Editions Lot 56 – 219, 2pm

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56. Joseph Beuys

1921-1986

Buttocklifing, 1974 Baked enamel on convex metal sheet. Signed in black ball-point pen on the Edition Staeck label on the reverse, one of 25 unnumbered copies (aside from the numbered edition of 80 and 20 artist’s proofs in Roman numerals), published by Edition Staeck, Heidelberg.

20 x 30 x .2 cm (7 7/8 x 11 3/4 x 1/8 in.)

Estimate £4,000-6,000 $5,100-7,600 €4,800-7,200 ♠ Literature Jörg Schellmann 120

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57. Mona Hatoum

b. 1952

Untitled (Stick), 2011 Silicone multiple in the form of a walking stick, contained in the original canvas-covered box. Signed and numbered 15/34 in black ink on a label inside the lid of the original box (there were also 6 artist’s proofs), published by Edition René Block, Berlin.

Dimensions variable, height 87 cm (34 1/4 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ♠ Literature Edition Block 79

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58. Rachel Whiteread

b. 1963

Switch (for Parkett), 1994 Plaster cast multiple in the form of a light-switch.

Inscribed with initials, dated, and numbered XIX/ XXV on the brass plaque on the reverse (one of 25 artist’s proofs, the edition was 60), published by Parkett Editions, Zurich and New York.

22.6 x 22.6 x 7.4 cm (8 7/8 x 8 7/8 x 2 7/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ‡ ♠ Literature Parkett 42

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59. Darren Almond

b. 1971

Clock, 1997 Clock, comprised of perspex, infra-red, sound stores and electric motor. With incised signature and date, and numbered 4/10 (printed) on a label afxed to the reverse.

32 x 42 x 19 cm (12 5/8 x 16 1/2 x 7 1/2 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ♠ Literature Eclipse, Towards the Edge of the Visible, exh. cat., White Cube, London, 2004 (illustrated, p. 5) Darren Almond, exh. cat., Kunsthalle Zürich, Zürich, 2001 (illustrated, p. 10)

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60. Michelangelo Pistoletto

b. 1933

Frattali (White), 1999-2000 Acrylic in white and black, on mirrored glass.

Signed, titled and dated ‘1999/2000’ in white paint pen on the reverse, a unique variant, further signed on the accompanying Certifcate of Authenticity in black ink. approximately 85.5 x 55 x 3 cm (335/8 x 215/8 x 11/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ♠

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61. Jenny Holzer

b. 1950

Truism 4 (Mother and Child), 1990 Electronic mini LED screen with colour-changing diodes, contained in the original black painted metal frame, specifed by the artist. From the edition of 100, with wall hook up.

10 x 12.5 x 3.7 cm (3 7/8 x 4 7/8 x 1 1/2 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 Ώ

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20/12/16 19:36

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62. Jesús Rafael Soto

1923-2005

Multiple II, from Jai-Alai, 1969 Plexiglas multiple with screenprint in colours, steel bars, and transparent cords, from the series of nine kinetic multiples titled Jai-Alai. With incised signature and numbering 201/300, published by Marlborough Galleries, New York, lacking one steel bar and associated cord.

50.5 x 20 x 20 cm (19 7/8 x 7 7/8 x 7 7/8 in.)

Estimate £4,000-6,000 $5,100-7,600 €4,800-7,200

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63. Victor Vasarely

1906-1997

Bellatrix, 1970 Wooden relief multiple painted in blues, contained in the original cardboard box. Signed in black ink and numbered 2/55 (printed) on a label afxed to the reverse, published by Éditions du Grifon, Neuchâtel, Switzerland.

37.5 x 37.5 x 2.5 cm (14 3/4 x 14 3/4 x 7/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ♠

20/12/16 19:36

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64. Julio le Parc

b. 1928

65. Patrick Hughes

b. 1939

Relief 13, 1970 Aluminium box multiple with screenprint in black and white, with the original perspex lid. Signed in ink (faded) and numbered 19/200 (printed) on a label afxed to the reverse, published by Éditions Denise René, Berlin.

41 x 41 x 6 cm (16 1/8 x 16 1/8 x 2 3/8 in.)

Dark Rainbow Present, 1978 Wood and fbreboard multiple painted in emulsion with collage elements of wood painted in poster paint in colours with black paper and string. Signed, titled, dated and numbered 2/6 in black paint on the reverse.

45.5 x 61 x 5 cm (17 7/8 x 24 x 1 7/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ♠

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ♠

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66. Robert Rauschenberg

1925-2008

Tibetan Keys (Bevel), from Tibetan Keys and Locks, 1987 Powder-coated steel multiple with photoscreenprint decals in colours with hand-colouring and polyurethane.

Signed and dated ‘1986’ in pink paint on one side and numbered 10/25 in brown paint on the base (there were also 8 artist’s copies), published by Gemini G.E.L., Los Angeles (with their copyright and serial number painted in pink).

45.5 x 25 x 25 cm (17 7/8 x 9 7/8 x 9 7/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 Literature Gemini G.E.L. 1304

67. Various Artists S.M.S. Portfolios #1-6, 1968 The complete set of six portfolios of ephemera in various media, all contained in six original cardboard boxes. From the edition of 200, published by The Letter Edged in Black Press Inc., New York. overall 36 x 26 x 20 cm (14 1/8 x 10 1/4 x 7 7/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ♠

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68. Takashi Murakami

b. 1962

Plush Flowerball, 2008 Polyester and cotton spherical multiple in colours with acrylic boa and polyurethane. Numbered 062/200 (printed) on a fabric tag afxed to the work (there were also 5 artist’s proofs), published by Kaikai Kiki Ltd., Tokyo.

40 cm (15 3/4 in.) diameter Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ‡

Artwork ©2008 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

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69. Zaha Hadid

1950-2016

Solid (Edition No. 31), 2005 Vacuum cast polyurethane resin multiple, with accompanying light-box, contained in the original plastic box. With embossed signature and numbering 157/250, published by Deutsche Guggenheim, Berlin, on the occasion of their 25th anniversary. multiple 4.8 x 37 x 6.5 cm (1 7/8 x 14 5/8 x 2 1/2 in.) with lightbox 9.8 x 38.5 x 6.5 cm (3 7/8 x 15 1/8 x 2 1/2 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ♠ †

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70. Anish Kapoor

b. 1954

Memory, 2008 Cast polyurethane multiple, contained in the original foam-lined cardboard box with embossed title and artist name. With incised signature and numbering 33/40 on one side, published by Deutsche Guggenheim, Berlin.

14 x 23 x 7.5 cm (5 1/2 x 9 x 2 7/8 in.)

Estimate £4,000-6,000 $5,000-7,600 €4,800-7,200 ♠

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71. Stik

b. 1979

Rough Sleeper, 2010 Stencil spraypaint in black and white on MDF cut-out.

Signed, dated ‘2009’ and numbered 7/25 in black paint on the reverse, with the Squarity inkstamp on the reverse, framed.

22 x 53 cm (8 5/8 x 20 7/8 in.)

Estimate £4,000-6,000 $5,000-7,600 €4,800-7,200 ♠

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72. Jef Koons

b. 1955

Balloon Dog (Blue), 2002 Porcelain multiple painted in blue chrome.

Numbered 2167/2300 in black ink on a label afxed to the underside, published by the Museum of Contemporary Art, Los Angeles, lacking the original plastic stand and foam-lined cardboard box.

26.7 cm (10 1/2 in.) diameter Estimate ÂŁ4,000-6,000 $5,000-7,600 â‚Ź4,800-7,200

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150.

X. Roy RoyLitchenstein Litchenstein

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Glass.

Gouge.

Gum arabic.

Hard-ground.

Imprint.

Ink. Intaglio.

Linocut.

Limestone.

Lithograph.

Matrix.

Mezzotint.

Monotype.

Multiples.

Phonograph.

Planographic.

Plate.

Plate-tone.

Plexiglas.

Pochoir.

Polyurethane.

Proof.

Relief printing.

Resin.

Sculpture.

Screenprint.

Silicone.

Soft-ground.

Spitbite.

State.

Steel.

Stencil.

Tusche.

Watermark.

Wax. Woodcut.

Zinc.

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73. Pablo Picasso

1881-1973

Plat espagnol au toros (Spanish Dish with Bulls), 1957 Red earthenware round dish painted in black with partial brushed glaze. Incised ‘EDITION PICASSO’ and ‘MADOURA’ and numbered 87/100, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

42 cm (16 1/2 in.) diameter Estimate £5,000-7,000 $6,300-8,800 €6,000-8,400 ♠ Provenance From the collection of John Schlesinger Literature Alain Ramié 403

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74. Pablo Picasso

1881-1973

Visage (Face), 1965 White earthenware round dish, unglazed.

Numbered 4/100 and inscribed ‘U 108’ in black, with the Empreinte Originale de Picasso and Madoura Plein Feu pottery stamps on the underside.

42 cm (16 1/2 in.) diameter Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ♠ Provenance From the collection of John Schlesinger Literature Alain Ramié 531

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75. Hans (Jean) Arp

1886-1966

Parent d’oiseau (Bird Parent), 1965 Bronze sculpture with light brown patina. With inscribed signature and numbering IV/V on the underside (the edition was 6 numbered 0-5), conceived in 1965 and cast by André Mounier, Paris in 1967.

34.6 x 30.8 x 14 cm (13 5/8 x 12 1/8 x 5 1/2 in.)

Literature A. Hartog, K. Fischer, Hans Arp, Sculptures a Critical Survey Ostfldern, 2012, no. 352 (another cast illustrated p. 213) E. Trier, Jean Arp Sculptures 1957-1966, Stuttgart, London, 1968, p. 129, no. 352 (illustrated p. 128)

Estimate £7,000-10,000 $8,800-12,600 €8,400-11,900 Provenance Edouard Loeb, Paris, by whom acquired in 1968.

François Arp, Paris.

Johannes Wasmuth, acquired from the above on consignment in 1981.

Acquired from the above and thence by descent to the present owner

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76. Le Corbusier

1887-1965

Totem; Portrait; Modular; Unité: two plates; and Don Quijote, c. 1955-1965 Six prints, including four lithographs (three in colours), and two etchings (one in colours), on wove papers, with full margins.

The two etchings signed and numbered IV/ XXX and IX/X respectively in pencil (the edition for both was 30 with aquatint in colours and 10 without colours both in Roman numerals), published by A. C. Mazo & Cie., Paris, the four lithographs from unsigned editions of unknown size, all framed. all I. various sizes, largest S. 73 x 80.2 cm (28 3/4 x 31 5/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 Literature Heidi Weber 55, 58, 65 and 71

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77. Pablo Picasso

1881-1973

Minotaure contemplant amoureusement une dormeuse (Minotaur Tenderly Admiring a Sleeping Woman), 1933 Drypoint, on laid Van Gelder paper, with full margins. One of three unsigned and unnumbered proofs (aside from the edition of 20 and 12 artist’s proofs), published by Galerie Louise Leiris, Paris, framed.

I. 29.8 x 36.4 cm (11 3/4 x 14 3/8 in.)

S. 41.2 x 52 cm (16 1/4 x 20 1/2 in.)

Estimate £5,000-7,000 $6,300-8,800 €6,000-8,400 ♠ Literature Georges Bloch 261 Brigitte Baer 371 Bb.2

78. After Pablo Picasso

1881-1973

Bacchanale (faunes de l'été), circa 1955 Etching and aquatint in colours, on BFK Rives paper, with full margins. Signed and numbered 132/300 in pencil (there were also some hors commerce impressions), published by Atelier Crommelynck, Paris (with their blindstamp), framed.

I. 47 x 55.5 cm (18 1/2 x 21 7/8 in.)

S. 55.9 x 75.1 cm (22 x 29 5/8 in.)

Estimate £7,000-10,000 $8,800-12,600 €8,400-11,900 ♠

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79. Pablo Picasso

1881-1973

Vieux Peintre, Modèle et Spectateur (Old Painter, Model and Spectator), pl. 68 from Séries 347, 1968 Etching, drypoint and scraper, on wove paper, with full margins. Signed and numbered 44/50 in pencil (there were also 17 artist’s proofs), published by Galerie Louise Leiris, Paris, framed.

I. 12.3 x 8.9 cm (4 7/8 x 3 1/2 in.)

S. 32.5 x 25 cm (12 3/4 x 9 7/8 in.)

Estimate £2,000-2,500 $2,500-3,100 €2,400-3,000 ♠ Literature Georges Bloch 1547 Brigitte Baer 1564

80. Pablo Picasso

1881-1973

L'Atelier de Cannes (Cannes Studio) (cover for Ces peintres nos amis vol. II), 1958 Lithograph in colours, on Arches paper, the full sheet. From the unsigned edition of 250 frst produced in 1956 as a frontispiece for the book Dans l'atelier de Picasso, this impression used as the cover of the volume Ces Peintres Nos Amis Vol. II, with the colours reworked by the artist, printed and published in 1960 by Mourlot, Paris, unframed.

S. 43.9 x 31.9 cm (17 1/4 x 12 1/2 in.)

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400 ‡ ♠ Literature Georges Bloch 794 Fernand Mourlot 279

81. Paul Delvaux

1897-1994

Anne songeuse (Pensive Anne), 1966 Lithograph in colours, on Arches paper, with full margins. Signed and numbered 7/75 in pencil, framed.

I. 65.5 x 50.2 cm (25 3/4 x 19 3/4 in.)

S. 75.7 x 56.5 cm (29 3/4 x 22 1/4 in.)

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400 ♠ Literature Mira Jacob 7

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This lot is sold with no reserve

82. Rufno Tamayo

1899-1991

83. Mimmo Paladino

b. 1948

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400 • ‡

Gli Ucelli di Notte (The Night Birds); Gli Alberi che nel Corpo Nascono (Trees that Spring from the Body Itself); and Essere Portato in Carro (To Be Carried in a Cart), 1990 The complete set of three screenprints with woodcut, etching, aquatint, drypoint, carborundum, and collage in colours, on Arches paper. All signed, dated and numbered 37/50 in pencil, published by Waddington Graphics, London, Gli Ucelli di Notte framed. all I. 164 x 115 cm (64 5/8 x 45 1/4 in.) all S. 176 x 124 cm (69 1/4 x 48 7/8 in.)

Literature Juan Carlos Pereda 193 and 195

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ♠

Personaje Blanco (White Person); and Cabeza en Amarillo (Head in Yellow), 1976 Two etching and aquatints in colours with carborundum, on Guarro paper, the full sheets.

Both signed and numbered 13/75 and 22/75 in crayon (there were also 10 artist’s proofs in Roman numerals), published by Ediciones Polígrafa, Barcelona, both framed. both S. approx 75.4 x 56.3 cm (29 5/8 x 22 1/8 in.)

Literature Enzo di Martino 163-165

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84. Marc Chagall

1887-1985

L’Echo, pl. 33 from Daphnis and Chloé, 1961 Lithograph in colours, on Arches paper, the full sheet. An unfolded proof before the unsigned and unnumbered edition of 250 (there was also a signed and numbered edition of 60 with margins), published by Tériade Editeur, Paris, framed.

S. 42 x 64 cm (16 1/2 x 25 1/4 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ♠ Literature Fernand Mourlot 340 see Patrick Cramer books 46

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85. Marc Chagall

1887-1985

Les Cyclistes (The Cyclists), 1956 Lithograph, on wove paper, the full sheet.

Signed and annotated ‘Épreuve d’artiste’ in pencil (an artist’s proof, the edition was 30), framed.

S. 66 x 50.5 cm (25 7/8 x 19 7/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ♠ Literature Fernand Mourlot 171

86. Marc Chagall

1887-1985

Le Songe du Capitaine Bryaxis (Captain Bryaxis’ Dream), pl. 21 from Daphnis et Chloé, 1961 Lithograph in colours, on Aches paper, the full sheet with central vertical fold (as issued).

From the unsigned and unnumbered edition of 250 (there was also a signed and numbered edition of 60 with margins), published by Tériade Éditeur, Paris, framed.

S. 42 x 64 cm (16 1/2 x 25 1/4 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ♠ Literature Fernand Mourlot 238 see Patrick Cramer books 46

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87. Henri Matisse

1869-1954

Nu assis- les yeux noirs (Seated Nude - with Black Eyes), 1926 Drypoint, on wove paper, with full margins.

Signed and numbered 16/25 in pencil (there were also 5 artist’s proofs), framed.

I. 20 x 12 cm (7 7/8 x 4 3/4 in.)

S. 38.4 x 28.1 cm (15 1/8 x 11 1/8 in.)

Estimate £5,000-7,000 $6,300-8,800 €6,000-8,400 ♠ Literature Claude Duthuit 97

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88. Henri Matisse

1869-1954

Florilège des amours de Ronsard (Anthology of Love, by Ronsard), 1949 The incomplete book, lacking text pages 99-102, retaining all of the original lithographs, printed in sepia (one printed in black), 28 hors-texte, 98 en-texte and two for the covers, on Arches paper, with the accompanying text in French, title page and justifcation, the loose sheet folded (as issued), contained in the original paper covered boards, with purple suede spine and slipcase with lithographic paper wrapper. Signed by the artist and the publisher in black and blue ink respectively on the justifcation, copy number 282 from the edition of 300 (there were also 20 hors commerce copies), published by Albert Skira, Paris.

40.3 x 30.5 cm (15 7/8 x 12 in.)

Estimate £5,000-7,000 $6,300-8,800 €6,000-8,400 ‡ ♠ Literature Claude Duthuit books 25

89. Alberto Giacometti

1901-1966

Chaise et guéridon (Chair and Guéridon), 1960 Lithograph, on BFK Rives paper, with full margins.

Signed and numbered 24/90 in pencil, published

by Maeght, Paris, framed.

I. 34.3 x 27.9 cm (13 1/2 x 10 7/8 in.)

S. 66 x 50.8 cm (25 7/8 x 20 in.)

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400 ‡ Literature Herbert Lust 33

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90. Salvador Dalí

1904-1989

L’Aéroplane (Aeroplane), for Hommage à Leonardo da Vinci (American Inventions), 1975 Drypoint with extensive hand-colouring in gouache, on Arches paper, with full margins. Signed and inscribed ‘Bon à tirer couleur’ in pencil (the ‘good to print’ impression before the edition of 450 and 60 artist’s proofs on Arches, published by Editions de Francony/Editions Graphiques Internationales), with further pencil annotations in the centre of the plate and in the lower margin, printed

by Atelier Rigals, Paris, inscribed ‘Epreuve pour essais couleurs en BAT pour Salvador Dali. Epreuve faisant partie de notre collection’ by Nicole Rigal in pencil on the reverse, unframed.

I. 36.5 x 50.7 cm (14 3/8 x 19 7/8 in.)

S. 56.5 x 76 cm (22 1/4 x 29 7/8 in.)

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Estimate £5,000-7,000 $6,300-8,800 €6,000-8,400 ♠ Provenance Ateliers Rigal, Paris Private Collection, France Literature see Ralf Michler and Lutz W. Löpsinger 810

This work is registered in the Archives Descharnes under number D-5669 (a certifcate has been issued and is available for purchase from the Archives Descharnes)

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91. Salvador Dalí

1904-1989

La Fusée (The Rocket), for Hommage à Leonardo da Vinci (American Inventions), 1975 Drypoint with extensive hand-colouring in gouache, on BFK Rives paper, with full margins. Signed and inscribed ‘Bon à tirer’ in pencil (the ‘good to print’ impression before the edition of 450 and 60 artist’s proofs on Arches, published by Editions de Francony/Editions Graphiques Internationales), with further pencil annotations in the centre of the plate and in all four margins, printed by Atelier Rigals, Paris, inscribed ‘Epreuve rehaussée à la gouache par S. Dali pour essais couleurs. Epreuve faisant partie de notre collection’ by Denise Rigal in pencil on the reverse, unframed.

I. 50.5 x 36.3 cm (19 7/8 x 14 1/4 in.)

S. 75.6 x 56.8 cm (29 3/4 x 22 3/8 in.)

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Estimate £5,000-7,000 $6,300-8,800 €6,000-8,400 ♠ Provenance Ateliers Rigal, Paris Private Collection, France Literature see Ralf Michler and Lutz W. Löpsinger 812

This work is registered in the Archives Descharnes under number D-5605 (a certifcate has been issued and is available for purchase from the Archives Descharnes)

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92. Jean Dubufet

1901-1985

Parade nuptiale (Courtship), 1973 Screenprint in colours, on tan Canson paper, with full margins. Signed with initials, dated and numbered 46/85 in pencil (there were also 15 proofs annotated ‘A-O’ and 13 hors commerce impressions in Roman numerals), framed.

I. 25 x 20 cm (9 7/8 x 7 7/8 in.)

S. 39.4 x 33.5 cm (15 1/2 x 13 1/4 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ♠ Literature Sophie Webel 1099

93. Joan Miró

1893-1983

Els Gossos (The Dogs), 1979 Etching and aquatint in colours, on Arches paper, the full sheet. Signed and numbered 14/30 in pencil, published by Maeght/Joan Barbara, Barcelona, framed.

S. 74 x 106.3 cm (29 1/8 x 41 7/8 in.)

Estimate £6,000-8,000 $7,600-10,100 €7,200-9,600 ‡ ♠ Literature Jacques Dupin 1098

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94. After Joan Miró

1893-1983

Rose Matinale au Clair de la lune (Morning Rose in the Light of the Moon), 1958 Etching and aquatint in colours, on BFK Rives paper, with full margins. Signed and numbered 124/300 in pencil, unframed.

I. 39.2 x 48.4 cm (15 3/8 x 19 in.)

S. 56 x 64.5 cm (22 x 25 3/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ♠ Literature Maeght 1713

95. Joan Miró

1893-1983

Montroig II, 1973 Lithograph in colours, on Guarro paper, the full sheet. Signed and numbered X/XX in pencil (one of twenty artist’s proofs in Roman numerals, the edition was 30), published by Edicions Polígrafa, S.A., Barcelona, framed.

S. 75.7 x 56.8 cm (29 3/4 x 22 3/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ♠ Literature Fernand Mourlot 954

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96. Christo and Jeanne-Claude b. 1935 and 1935-2009 Wrapped Automobile (Project for 1950 Studebaker Champion Series 9G Coupe), 2015 Lithograph in colours with hand-colouring in pencil and collage of broadcloth, cardstock and thread, on wove paper mounted to board (as issued), the full sheet. Signed, dated and numbered 67/200 in pencil (there were also 50 artist’s proofs), published by Landfall Press, Chicago (with their and the artist’s copyright inkstamps on the reverse), unframed.

S. 43 x 53 cm (16 7/8 x 20 7/8 in.)

Estimate £2,500-3,500 $3,100-4,400 €3,000-4,200 ♠ †

97. Peter Blake

b. 1932

Eifel Tower, 2013 Lenticular acrylic panel, comprised of an inkjet print in colours, on photo paper, mounted to 3D lenses. Signed and numbered 73/75 in black ink, published by CCA Galleries, London, framed.

50 x 36.4 cm (19 5/8 x 14 3/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ♠

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98. Peter Blake

b. 1932

I Love You, 1983 Wool pile tapestry in colours. With signature lower right (in the wool) and stitched numbering 10/30 in white thread on the reverse, lacking the manufacturer’s label on the reverse.

200 x 176 cm (78 3/4 x 69 1/4 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ♠

UK_EDITIONS_JAN17_84-145.indd 119

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99. Elisabeth Frink

1930-1993

Road to Chartres, 1983 Wool pile tapestry in colours. Signed lower lef (in the wool) and with stitched signature on the reverse in black thread, from the edition of 30.

188 x 275.5 cm (74 x 108 1/2 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ♠

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100. Elisabeth Frink

1930-1993

Reclining Horse, 1975 Wool pile tapestry in colours. Signed lower right (in the wool), from the edition of 25.

180 x 255 cm (70 7/8 x 100 3/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ♠

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101. Craigie Aitchison

1926-2009

Bedlington In Red, 2012 Wool pile tapestry in colours. With stitched signature, title and numbering 4/20 in white thread on the reverse.

183.5 x 151.5 cm (72 1/4 x 59 5/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ♠

102. Craigie Aitchison

1926-2009

Blue Bird Yellow Landscape, 2009 Wool pile tapestry in colours. With stitched signature and numbering 7/25 in white thread on the reverse, lacking the manufacturer's label.

186.5 x 249 cm (73 3/8 x 98 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ♠

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103. William Scott

1913-1989

Still Life with Orange Notes, 1980 Wool pile tapestry in colours. With stitched signature in black thread on the reverse, from the edition of 25.

150 x 244 cm (59 x 96 1/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ♠

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104. John Piper

1903-1992

Long Sutton, Lincolnshire, 1984 Wool pile tapestry in colours. With signature lower right (in the wool), from the edition of 25, lacking the numbered manufacturer’s label on the reverse.

165.5 x 209.5 cm (65 1/8 x 82 1/2 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ♠

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105. Alan Davie

UK_EDITIONS_JAN17_84-145.indd 123

b. 1920

106. Howard Hodgkin

b. 1932

Flag Walk, 1972 Wool pile tapestry in colours. With stitched signature on the reverse in white thread, from the edition of 21.

216 x 283.5 cm (85 x 111 5/8 in.)

Sunset - India, 1985 Wool pile tapestry in colours. With stitched signature (Hodgkins) on the reverse in white thread, from the edition of 20.

165 x 204 cm (64 7/8 x 80 3/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ♠

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ♠

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This lot is sold with no reserve

107. John Hoyland

b. 1934

108. Patrick Heron

1920-1999

Small Red, 1968 Lithograph in colours, on BFK Rives paper, with full margins. Signed, dated and annotated ‘Artist’s Proof’ in pencil (the edition was 75), framed.

I. 46 x 68.5 cm (18 1/8 x 26 7/8 in.)

S. 56 x 76 cm (22 x 29 7/8 in.)

Umber Disk and Red Edge, 1970 Screenprint in colours, on wove paper, with full margins. Signed, dated and numbered 25/100 in pencil, framed.

I. 59 x 77.5 cm (23 1/4 x 30 1/2 in.)

S. 71 x 101 cm (27 7/8 x 39 3/4 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 • ♠

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400 ♠

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109. Graham Sutherland

1903-1980

Balancing Form, 1972 Lithograph in colours, on wove paper, with full margins. Signed and numbered 68/90 in pencil (there were also a number of artist’s proofs), published by XXe Siècle, Paris, framed.

I. 42.8 x 36 cm (16 7/8 x 14 1/8 in.)

S. 57 x 40 cm (22 1/2 x 15 3/4 in.)

Estimate £400-600 $500-760 €480-720 ♠ Literature Roberto Tassi 130

This lot is sold with no reserve

110. Patrick Hughes

b. 1939

Rubbish Rainbows, 1978 Screenprint in colours, on heavy wove paper, with full margins. Signed, titled, dated and numbered 95/100 in pencil, framed.

I. 71.2 x 47.7 cm (28 x 18 3/4 in.)

S. 89.8 x 63.8 cm (35 3/8 x 25 1/8 in.)

Estimate £500-700 $630-880 €600-840 • ♠

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111. Henry Moore

1898-1986

The Artist’s Hand, 1980 The complete set of fve prints, comprised of three lithographs in colours and two etchings, on BFK Rives paper, with full margins, with colophon and text by the artist, the sheets loose (as issued) contained in the original red fabric-covered portfolio. All sheets signed and numbered 14/50 in pencil (there were also 10 artist’s proofs in Roman numerals and 10 hors commerce copies), further signed in pencil and numbered 14 in black ink on the colophon, published by Raymond Spencer Company Ltd., for the Henry Moore Foundation, Much Hadham.

50.7 x 37.9 cm (19 7/8 x 14 7/8 in.)

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400 ‡ ♠ Literature Patrick Cramer 553-557

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112. Henry Moore

1898-1986

Four Standing Figures, 1978 Lithograph in colours, on T H Saunders paper, with full margins. Signed and numbered 4/50 in pencil (there were also 15 artist’s proofs), published by Raymond Spencer Company Ltd., for The Henry Moore Foundation, Much Hadham, framed.

I. 30.8 x 38.4 cm (12 1/8 x 15 1/8 in.)

S. 51.8 x 59.2 cm (20 3/8 x 23 1/4 in.)

Estimate £700-1,000 $880-1,300 €840-1,200 ♠ Literature Patrick Cramer 489

113. Henry Moore

1898-1986

Adam; and Eve, 1980 Two lithographs in colours, on T H Saunders paper, with full margins. Both signed and numbered 3/50 in pencil (there were also 15 artist’s proofs in Roman numerals for both), published by Raymond Spencer Company Ltd., for The Henry Moore Foundation, Much Hadham, both framed. both I. 26 x 32.2 cm (10 1/4 x 12 5/8 in.) both S. 53.5 x 61.2 cm (21 1/8 x 24 1/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ♠ Literature Patrick Cramer 574 and 575

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114. Henry Moore

1898-1986

Six Heads Olympians, 1982 Lithograph in colours, on BFK Rives paper, the full sheet. Signed and numbered XXI/XXXV in pencil (one of 35 artist’s proofs in Roman numerals, the edition was 50), published by Raymond Spencer Company Ltd., for The Henry Moore Foundation, Much Hadham in association with Visconti, Vienna, framed.

S. 85.4 x 59.3 cm (33 5/8 x 23 3/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ♠ Literature Patrick Cramer 657

115. Henry Moore

1898-1986

Figures with Sky Background II, 1981 Lithograph in colours, on T H Saunders paper, with full margins. Signed and numbered 40/50 in pencil (there were also 15 artist’s proofs in Roman numerals), published by Raymond Spencer Company Ltd., for The Henry Moore Foundation, Much Hadham, framed.

I. 25.6 x 34.6 cm (10 1/8 x 13 5/8 in.)

S. 49.6 x 59.8 cm (19 1/2 x 23 1/2 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ♠ Literature Patrick Cramer 609

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116. Henry Moore

1898-1986

Sketchbook 1928, The West Wind Relief, 1979-80 Two etching and aquatints in colours, on Arches paper, with full margins, with the accompanying sketchbook facsimile and explanatory catalogue, all contained in the original paper-covered portfolio. The facsimile sketchbook signed in black ink and numbered ‘A 18/25’ in pencil, the prints signed and numbered 18/25 in pencil (there were also 10 dedicated proofs), published by Raymond Spencer Company Ltd., for the Henry Moore Foundation, Much Hadham, United Kingdom.

41.3 x 32.4 cm (16 1/4 x 12 3/4 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ‡ ♠

117. Elisabeth Frink

1930-1993

Man and Horse I, 1971 Lithograph in colours, on J Green mouldmade paper, with full margins. Signed and numbered 60/70 in pencil (there were also 5 artist’s proofs), published by Leslie Waddington Prints Ltd., London, framed.

I. 51.5 x 73 cm (20 1/4 x 28 3/4 in.)

S. 60 x 80 cm (23 5/8 x 31 1/2 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ♠ Literature Caroline Wiseman 50

Literature Patrick Cramer 571-572

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From the archive of Editions Alecto

118. David Hockney

b. 1937

Untitled no. 329, from A Bigger Book: Art Edition A, 2010/2016 iPad drawing in colours, printed on archival paper, with full margins, contained in the original fabric-covered portfolio. Signed, dated and numbered 226/250 in pencil, published by the artist (with their blindstamp) and Taschen, Berlin.

I. 43.8 x 33 cm (17 1/4 x 12 7/8 in.)

S. 55.8 x 43.2 cm (21 7/8 x 17 in.)

Estimate £4,000-6,000 $5,000-7,600 €4,800-7,200 ♠

120. David Hockney

119. David Hockney

b. 1937

Study for Rumplestiltskin, 1961 Four etchings, printed on one sheet of Crisbrook handmade paper, with full margins. A rare unsigned and unnumbered trial proof before the aquatint (the edition was 15 and 6 artist’s proofs signed and numbered in pencil), published by Petersburg Press, London in 1972, unframed. all plates various sizes, overall I. 11.5 x 35.4 cm (4 1/2 x 13 7/8 in.)

S. 24.4 x 57 cm (9 5/8 x 22 1/2 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ♠ Literature Scottish Arts Council 11 Museum of Contemporary Art Tokyo 11

b. 1937

Disintegration, pl.7 from A Rake’s Progress, 1961-63 Etching and aquatint, in black and red, on Crisbrook Royal Hotpress paper, with full margins. Signed and numbered 3/50 in pencil (there were also 10 artist’s proofs), published by Editions Alecto (with their blindstamp) in association with the Royal College of Art, London, unframed. l. 30 x 40 cm (11 3/4 x 15 3/4 in.)

S. 49 x 57.9 cm (19 1/4 x 22 3/4 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ‡ ♠ Literature Scottish Arts Council 29 Museum of Contemporary Art Tokyo 24 Editions Alecto 442

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From the archive of Editions Alecto

121. David Hockney

b. 1937

A Rake's Progress: 14 plates, 1963 Fourteen etchings with sugar-lif aquatint in black and red, on Crisbrook Royal Hotpress paper, with margins.

Unsigned impressions, from one of two sets taken from the 16 cancelled plates (the edition was 50 and 10 artist's proofs), published by Editions Alecto in association with the Royal College of Art, London, all unframed, lacking Receiving the Inheritance and Bedlam. all I. 30 x 40 cm (11 3/4 x 15 3/4 in.) all S. approx. 49 x 61 cm (19 1/4 x 24 in.)

Estimate £6,000-8,000 $7,600-10,100 €7,200-9,600 ♠

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Literature see Scottish Arts Council 17, 19-31 see Museum of Contemporary Art Tokyo 12, 14-26 see Editions Alecto 430, 432-444 After the two sets were pulled in 1963, the sixteen cancelled plates for A Rake's Progress were presented by Editions Alecto to the Victoria & Albert Museum, London, in whose collection they remain.

Including: The Arrival; Meeting the Good People (Washington); The Gospel Singing (Good People) Madison Square Garden; The Start of the Spending Spree and the Door Opening for a Blonde; The Seven Stone Weakling; The Drinking Scene; Marries an Old Maid; The Election Campaign (with Dark Message); Viewing a Prison Scene; Death in Harlem; The Wallet Begins to Empty; Disintegration; Cast Aside; and Meeting the Other People

20/12/16 19:47

122. Gerald Laing

b. 1936

Parachutes: fve works, 1968 Five screenprints in colours, on wove paper, with full margins. All signed, titled, dated and numbered 63/75 in pencil, published by the artist (with his blindstamp), all framed. all I. various sizes all S. 88.8 x 58.4 cm (34 7/8 x 22 7/8 in.)

Estimate £2,500-3,500 $3,100-4,400 €3,000-4,200 ♠ Literature Sims Reed 12-16

Including Second Sky Diver; Third Sky Diver; Pendulum; Pennon; and Plunger

123. R.B. Kitaj

1932-2007

A Day Book by Robert Creeley; including two additional prints, 1970-72 The complete set of 13 prints in colours, comprised of eight screenprints, four etchings and a lithograph, on various papers, canvas and acetate, the full sheets and with full margins, loose (as issued), contained in the original slipcase and red fabric-covered portfolio. Each sheet (bar the acetate) signed and numbered 72/200 in pencil (there were also 25 artist’s proofs in Roman numerals), also signed by the artist and author in blue crayon and black ink respectively and numbered in brown ink on the justifcation, published by Graphis, Berlin. Including In His Forthcoming Book on Relative Deprivation (Loneliness), from Mahler Becomes Politics, Bleisbol, 1967; and Immortal Portraits, 1972, both framed.

63.5 x 43.5 cm (25 x 171/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 Literature Jennifer Ramkalawon 133-148; 48 and 166b

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124. Gerald Laing b. 1936 Circle Girl, 1964 Stencil painting in pink and yellow, on wove paper, with margins. Signed and annotated '15/64 NYC #1 of 5' in pencil on the front, and signed, titled and dated in black ink on the reverse, a rare proof (the edition was never executed), framed.

I. 52 cm (20 1/2 in.) diameter S. approx 59.5 cm (23 3/8 in.)

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400 ♠ Provenance Richard Feigen Gallery, Chicago Sims Reed Gallery, London Private Collection, London

125. Patrick Caulfeld

1936-2005

Found Objects, 1968 Screenprint in colours, on wove paper, the full sheet. Signed and numbered 31/75 in pencil (there were also 10 artist’s proofs), published

by Leslie Waddington prints, London, framed.

S. 70.9 x 93.2 cm (27 7/8 x 36 3/4 in.)

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400 ♠ Literature Alan Cristea 10

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126. After Francis Bacon

1909-1992

Lying Figure, 1969/2015 Diasec mounted giclée print in colours, on Alu Dibond support, the full sheet. With printed signature on a label afxed to the reverse and numbered 136/150 in black ink on the reverse, published by The Estate of Francis Bacon and Heni Productions, 2015, with their Certifcate of Authenticity, framed.

197.7 x 147.5 cm (77 7/8 x 58 1/8 in.)

Estimate £8,000-12,000 $10,100-15,100 €9,600-14,300 ♠ Provenance Fondation Beyeler Acquired directly from the above by the present owner

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127. After Francis Bacon

1909-1992

Portrait of George Dyer Riding a Bicycle, 1966/2015 Diasec mounted giclée print in colours, on Alu Dibond support, the full sheet. With printed signature on a label afxed to the reverse and numbered 133/150 in black ink on the reverse, published by The Estate of Francis Bacon and Heni Productions, 2015, with their Certifcate of Authenticity, framed.

197.7 x 147.5 cm (77 7/8 x 58 1/8 in.)

Estimate £8,000-12,000 $10,100-15,100 €9,600-14,300 ♠ Provenance Fondation Beyeler Acquired directly from the above by the present owner

UK_EDITIONS_JAN17_84-145.indd 137

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128. Frank Auerbach

b. 1931

Catherine, from Seven Portraits, 1989-90 Etching, on wove paper, with full margins. Signed, titled and numbered 35/50 in pencil, published

by Marlborough Graphics, London, framed.

I. 17.8 x 14.6 cm (7 x 5 3/4 in.)

S. 25.7 x 21.3 cm (10 1/8 x 8 3/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ‡ ♠

129. Frank Auerbach

b. 1931

Julia, from Six Etchings of Heads, 1980-81 Etching, on Arches paper, with full margins. Signed, titled and numbered 29/50 in pencil, published by Marlborough Graphics, London, framed.

I. 13 x 14.5 cm (5 1/8 x 5 3/4 in.)

S. 39.2 x 33.5 cm (15 3/8 x 13 1/4 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ‡ ♠ Literature Marlborough 14

130. Frank Auerbach

b. 1931

Michael, from Seven Portraits, 1989-90 Etching in black and grey, on wove paper, with full margins. Signed, titled and numbered 35/50 in pencil, published by Marlborough Graphics, London, framed.

I. 17.8 x 14.7 cm (7 x 5 3/4 in.)

S. 25.8 x 21.4 cm (10 1/8 x 8 3/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ‡ ♠

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131. Bridget Riley

b. 1931

Large Fragment, 2006 Screenprint in colours, on wove paper, with full margins. Signed, titled, dated and numbered 18/50 in pencil (there were also 10 artist’s proofs), donated to Space Studios, London, unframed.

I. 106.6 x 91.4 cm (41 7/8 x 35 7/8 in.)

S. 128.2 x 109 cm (50 1/2 x 42 7/8 in.)

Estimate £5,000-7,000 $6,300-8,800 €6,000-8,400 ♠ † Literature Karsten Schubert 64

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132. Bridget Riley

b. 1931

Carnival, 2000 Screenprint in colours, on wove paper, with full margins. Signed, titled, dated and numbered 55/75 in pencil (there were also 10 artist’s proofs), unframed.

I. 55.5 x 75.7 cm (21 7/8 x 29 3/4 in.)

S. 72.7 x 91.1 cm (28 5/8 x 35 7/8 in.)

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400 ♠ † Literature Karsten Schubert 43

133. Bridget Riley

b. 1931

Frieze, 2000 Screenprint in colours, on wove paper, with full margins. Signed, titled, dated and numbered 26/200 in pencil (there were also 20 artist’s proofs), published by Dia Center for the Arts, New York, unframed.

I. 30.3 x 57 cm (11 7/8 x 22 1/2 in.)

S. 47.4 x 72.3 cm (18 5/8 x 28 1/2 in.)

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400 ♠ † Literature Karsten Schubert 44

134. Bridget Riley

b. 1931

Wall Painting I, 2007 Screenprint in colours, on wove paper, with full margins. Signed, titled, dated and numbered 34/150 in pencil (there were also 10 artist’s proofs), unframed.

I. 39 x 73 cm (15 3/8 x 28 3/4 in.)

S. 55.7 x 91.2 cm (21 7/8 x 35 7/8 in.)

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400 ♠ † Literature Karsten Schubert 66

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135. Bridget Riley

b. 1931

Serpentine, 1999 Screenprint in colours, on wove paper, with full margins. Signed, titled, dated and numbered 137/200 in pencil (there were also 20 artist’s proofs), donated to the Serpentine Gallery, London on the occasion of the exhibition Bridget Riley: Paintings from the 1960s and 70s, framed.

I. 25.5 x 25.5 cm (10 x 10 in.)

S. 42 x 41.6 cm (16 1/2 x 16 3/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ♠ Literature Karsten Schubert 39

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136. Bridget Riley

b. 1931

Fold, 2004 Screenprint in colours, on wove paper, with full margins. Signed, titled, dated and numbered 115/250 in pencil (there were also 20 artist’s proofs), published by Ridinghouse, London, unframed.

I. 27.8 x 22.7 cm (10 7/8 x 8 7/8 in.)

S. 44.4 x 38 cm (17 1/2 x 14 7/8 in.)

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400 ♠ † Literature Karsten Schubert 57

137. Bridget Riley

b. 1931

From One to the Other, 2005 Screenprint in colours, on wove paper, with full margins. Signed, titled, dated and numbered 23/75 in pencil (there were also 10 artist’s proofs), unframed.

I. 32.3 x 75.9 cm (12 3/4 x 29 7/8 in.)

S. 49 x 91.2 cm (19 1/4 x 35 7/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ♠ † Literature Karsten Schubert 61

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138. Sean Scully

b. 1945

Wall of Light Red Grey, 2002 Etching and aquatint with spitbite and sugarlif in colours, on wove paper, with full margins. Signed, titled, dated and numbered 27/40 in pencil (there were also 5 artist’s proofs), published

by Galerie Lelong, Paris, framed.

I. 45.5 x 55.5 cm (17 7/8 x 21 7/8 in.)

S. 73.5 x 78.5 cm (28 7/8 x 30 7/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ♠

139. Sean Scully

b. 1945

Barcelona Noche (Barcelona Night), 2005 Etching and aquatint with spitbite and sugarlif in colours, on wove paper, with full margins. Signed, titled, dated and numbered 14/40 in pencil (there were also 5 artist’s proofs), published by Timothy Taylor Gallery, London, framed.

I. 39.5 x 54.5 cm (15 1/2 x 21 1/2 in.)

S. 69 x 80 cm (27 1/8 x 31 1/2 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ♠

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140. Sean Scully

b. 1945

Shadowing, 2010 Hard-ground etching and aquatint with spitbite and sugarlif in colours, on wove paper, with full margins. Signed, titled, dated and numbered 9/50 in pencil (there were also 10 artist’s proofs), published by Timothy Taylor Gallery, London, framed.

I. 45.5 x 55.5 cm (17 7/8 x 21 7/8 in.)

S. 73 x 79 cm (28 3/4 x 31 1/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ♠

141. Frank Stella

b. 1936

Polar Co-ordinates I, from Polar Co-ordinates for Ronnie Peterson, 1980 Lithograph, screenprint and letterpress in colours, on Arches Cover paper, the full sheet. Signed, dated and numbered 36/100 in pencil (there were also 20 artist’s proofs), published by Petersburg Press, New York, framed.

S. 97.6 x 86.1 cm (38 3/8 x 33 7/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ‡ Literature Richard Axsom and Leah Kolb 119

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142. Jasper Johns

b. 1930

Untitled, 1977 Screenprint in colours, the catalogue cover on Patapar printing parchment, with full margins.

From the edition of 3000 for Jasper Johns/ Screenprints, published by Brooke Alexander Gallery, Inc., New York, framed, lacking the catalogue.

I. 24.3 x 23.5 cm (9 5/8 x 9 1/4 in.)

S. folded 25.2 x 26 cm (9 7/8 x 10 1/4 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 Literature Universal Limited Art Editions S13 Richard S. Field 260

143. Jim Dine

b. 1935

Nine Views of Winter 6; and Nine Views of Winter 9, 1985 Two woodcuts in colours, on Arches paper, the full sheets. Both signed in pencil, #6 numbered 7/24 and #9 dated and annotated ‘TP’ in pencil (a trial proof, aside from the edition of 24 and 5 artist’s proofs), published

by Pace Editions Inc., New York, with the Angeles Press inkstamp on the reverse, both framed. both S. 133 x 94 cm (52 3/8 x 37 in.)

Estimate £4,000-6,000 $5,000-7,600 €4,800-7,200 ‡ Literature Ellen D’Oench and Jean Feinberg 202 and 205

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144. Robert Motherwell

1915-1991

Spanish Elegy I, 1975 Lithograph, on brown HMP handmade paper, with full margins. Signed and numbered 7/38 in pencil (there were also 12 artist’s proofs in Roman numerals), published by Tyler Graphics Ltd., Mount Kisco, New York (with their and the artist’s blindstamp), framed.

I. 37 x 47 cm (14 5/8 x 18 1/2 in.)

S. 35 x 78.5 cm (13 3/4 x 30 7/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 Literature Siri Engberg and Joan Banach 174

145. Robert Cottingham

b. 1935

Orph, from Documenta portfolio, 1972 Lithograph in colours, on Arches paper, with full margins. Signed and numbered 141/300 in pencil, published by Shorewood Atelier, New York, for Documenta 5, framed.

I. 50.9 x 76 cm (20 x 29 7/8 in.)

S. 60.8 x 86.4 cm (23 7/8 x 34 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800

UK_EDITIONS_JAN17_146-207.indd 147

21/12/16 09:34

146. Robert Indiana

b. 1928

Love, from Book of Love, 1996 Screenprint in colours, on A.N.W Crestwood Museum Edition Paper, with full margins, with the accompanying poem. Signed, dated and numbered 87/200 in pencil (there were also 50 artist’s proofs), published by American Image Editions, New York, framed.

I. 46 x 45.6 cm (18 1/8 x 17 7/8 in.)

S. 60.6 x 50.4 cm (23 7/8 x 19 7/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600

147. Robert Indiana

b. 1928

Love, from Book of Love, 1996 Screenprint in colours, on A.N.W Crestwood Museum Edition Paper, with full margins, with the accompanying poem. Signed, dated and numbered 87/200 in pencil (there were also 50 artist’s proofs), the poem also signed and numbered in pencil, published by American Image Editions, New York, framed.

46 x 45.5 cm (18 1/8 x 17 7/8 in.)

60.8 x 50.4 cm (23 7/8 x 19 7/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600

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148. Robert Indiana

b. 1928

Chosen Love, 1995 Skein dyed, hand carved and hand tufed archival New Zealand woollen rug, with natural latex backing. Signed and numbered 92/175 in black ink on a fabric label on the reverse, with a further sheared signature in lower right corner, handcrafed by Master Contemporary Original Artist Rugs, New York.

240 x 240 cm (94 1/2 x 94 1/2 in.)

Estimate £2,500-3,500 $3,100-4,400 €3,000-4,200

149. Robert Indiana

b. 1928

The American Dream, 1997 The complete set of 30 screenprints in colours, including 6 loose and 24 bound prints (as issued), on wove paper, with full margins, with title page, text, poems

by Robert Creeley, and photographic illustrations. 24 prints contained in the original black leather binding with the artist’s name in red on the front and spine, 6 prints framed. All signed and numbered 243/395 in pencil, further numbered in pencil on the title page (there were also 30 artist’s proofs), published by Marco Fine Arts Contemporary Atelier, El Segundo, with the accompanying Certifcate of Authenticity.

56.8 x 44.1 x 4.2 cm (22 3/8 x 17 3/8 x 1 5/8 in.)

Estimate £5,000-7,000 $6,300-8,800 €6,000-8,400 ‡

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150. Roy Lichtenstein

1923-1997

Finger Pointing, from The New York Collection for Stockholm, 1973 Screenprint in colours, on wove paper, the full sheet.

Numbered ‘pp 10/10’ in pencil (a printer’s proof, from the unsigned edition of 300 and 25 artist’s proofs), with the artist’s copyright inkstamp on the reverse, published by Experiments in Art and Technology, Inc., New York, framed.

S. 30.3 x 22.7 cm (11 7/8 x 8 7/8 in.)

Estimate £2,500-3,500 $3,100-4,400 €3,000-4,200 Literature Mary Lee Corlett 126

151. Roy Lichtenstein

1923-1997

Entablature X, 1976 Screenprint and lithograph in colours with collage and embossing, on BFK Rives paper, with full margins. Signed, dated and numbered 4/18 in pencil (there were also 9 artist’s proofs), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), framed.

I. 53.3 x 96.2 cm (20 7/8 x 37 7/8 in.)

S.74.1 x 114 cm (29 1/8 x 44 7/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 Literature Mary Lee Corlett 147 Tyler Graphics 343

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152. Roy Lichtenstein

1923-1997

Six abstract service plates, 1990 Six porcelain plates glazed in colours, contained in the original individual boxes.

All with printed signature and numbered 2758/3000, 2356/3000, 1865/3000, 0233/3000, 2087/3000 and 0113/3000 respectively on the undersides, published

by Rosenthal, Hamburg. all 31 cm (12 1/4 in.) diameter Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400

153. Roy Lichtenstein

1923-1997

Entablature II, 1976 Screenprint and lithograph in colours with collage and embossing, on BFK Rives paper, with full margins. Signed, dated and numbered 12/30 in pencil (there were also 9 artist’s proofs), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), framed.

I. 50 x 96.2 cm (19 5/8 x 37 7/8 in.)

S. 73.9 x 113.8 cm (29 1/8 x 44 3/4 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 Literature Mary Lee Corlett 139 Tyler Graphics 335

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154. Keith Haring

1958-1990

Untitled 10, from Apocalypse, 1988 Screenprint in colours, on wove paper, the full sheet. Signed, dated and numbered 77/90 in pencil (there were also 20 artist’s proofs and 5 hors commerce impressions), published by George Mulder Fine Arts, New York (with their and the artist’s copyright inkstamp on the reverse), framed.

S. 96.3 x 96.2 cm (37 7/8 x 37 7/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 Literature Klaus Littmann p. 109

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155. Keith Haring

1958-1990

Untitled 6, from Apocalypse, 1988 Screenprint in colours, on wove paper, the full sheet. Signed, dated and numbered 77/90 in pencil (there were also 20 artist’s proofs and 5 hors commerce impressions), published by George Mulder Fine Arts, New York, framed.

S. 96.3 x 96.3 cm (37 7/8 x 37 7/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 Literature Klaus Littmann p. 105

156. Keith Haring

1958-1990

Untitled 9, from Apocalypse, 1988 Screenprint in colours, on wove paper, the full sheet. Signed, dated and numbered 77/90 in pencil (there were also 20 artist’s proofs and 5 hors commerce impressions), published by George Mulder Fine Arts, New York (with their and the artist’s copyright inkstamp on the reverse), framed.

S. 96.2 x 96.4 cm (37 7/8 x 37 7/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 Literature Klaus Littmann p. 109

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157. Andy Warhol

1928-1987

Eric Emerson (Chelsea Girls), 1982 Screenprint in colours, on Somerset Satin paper, with full margins. Signed and numbered 73/75 in pencil (there were also 13 artist’s proofs), published by Anthology Film Archives, New York, framed.

I. 49 x 33 cm (19 1/4 x 12 7/8 in.)

S. 75.6 x 56.5 cm (29 3/4 x 22 1/4 in.)

Estimate £4,000-6,000 $5,000-7,600 €4,800-7,200 Literature Frayda Feldman and Jörg Schellmann 287

158. Andy Warhol

1928-1987

Flowers (Hand-Coloured): two plates, 1974 Two screenprints with hand-colouring in Dr. Martin’s aniline watercolor dyes (faded), on J. Green mouldmade paper, the full sheets.

Both signed with initials on the front in pencil and signed and numbered 220/250 and 99/250 respectively in pencil on the reverse (there were also 50 artist’s proofs), published by Castelli Graphics, and Multiples, Inc., New York (with their and the artist’s copyright inkstamp on the reverse), both framed. both S. 103.5 x 69.5 cm (40 3/4 x 27 3/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 Literature Frayda Feldman and Jörg Schellman 114 and 118

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159. Andy Warhol

1928-1987

Man Ray, 1974 Screenprint in colours, on wove paper, the full sheet. Signed, dated and numbered 40/100 in black ink on the reverse, published by Luciano Anselmino, Milan (with their blindstamp), unframed.

S. 34.9 x 34.9 cm (13 3/4 x 13 3/4 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 Literature Frayda Feldman and Jörg Schellmann 149

160. Ed Ruscha

b. 1937

Brews, 1970 Screenprint in colours, on wove paper, with full margins. Signed, dated and numbered 13/75 in pencil (there were also 15 artist’s proofs), published by Editions Alecto, London (with their inkstamp verso), framed.

I. 45.6 x 68.5 cm (17 7/8 x 26 7/8 in.)

S. 58.2 x 78.8 cm (22 7/8 x 31 in.)

Estimate £2,500-3,500 $3,100-4,400 €3,000-4,200 Literature Siri Engberg 40

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161. Marijke van Warmerdam

b. 1959

Don’t Walk, Walk, 1997 Colour coupler print, face-mounted to Diasec, fush-mounted to aluminium, the full sheet.

Signed, titled, dated and numbered 4/5 in black ink on the reverse, unframed.

S. 180 x 270.5 cm (70 7/8 x 106 1/2 in.)

Estimate £4,000-6,000 $5,000-7,600 €4,800-7,200 ♠

162. Ed Ruscha

b. 1937

Hot Shot, from 18 Small Prints, 1973 Lithograph in colours, on wove paper, the full sheet. Signed, dated and numbered 15/100 in pencil on the reverse (there were also an unknown number of artist’s proofs), published

by Bernard Jacobson, Ltd., London, framed.

S. 15 x 21 cm (5 7/8 x 8 1/4 in.)

Estimate £4,000-6,000 $5,000-7,600 €4,800-7,200 Literature Siri Engberg/Walker Art Center 71

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163. Francesco Clemente

b. 1952

Seeds, from Perusa, 1990 Spitbite aquatint, on wove paper, with full margins.

Signed and numbered 8/21 in pencil, published by Crown Point Press, San Francisco, framed.

I. 90.7 x 113.7 cm (35 3/4 x 44 3/4 in.)

S. 113.8 x 134.6 cm (44 3/4 x 52 7/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ♠

This lot is sold with no reserve

164. Conrad Marca-Relli

1913-2000

Composition, 1973 Lithograph in colours, on wove paper, with full margins. Signed, dated and numbered 68/90 in pencil, framed.

I. 66 x 51 cm (25 7/8 x 20 1/8 in.)

S. 80.9 x 63 cm (31 7/8 x 24 3/4 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 •

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165. Cy Twombly

1928-2011

Untitled, 1970 Ofset lithograph in colours, on heavy wove paper, the full sheet, in the original paper folder. Signed with initials and numbered 45/250 in black ink on a label afxed to the reverse (there were also 30 artist’s proofs in Roman numerals), published

by Verein Progressiver Galerien, Cologne, unframed.

S. 31.4 x 42.3 cm (12 3/8 x 16 5/8 in.)

Estimate £5,000-7,000 $6,300-8,800 €6,000-8,400 Literature Heiner Bastian 28

166. Cy Twombly

1928-2011

Untitled, 1973 Ofset lithograph in colours, on heavy wove paper, the full sheet. Signed with initials and numbered 25/150 in pencil (there were also 5 artist’s proofs), published by Die Zeit Magazine Verlag, Hamburg, and Propyläen Verlag, Berlin, unframed.

76 x 45.7 cm (29 7/8 x 17 7/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 Literature Heiner Bastian 40

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167. Cy Twombly

1928-2011

Untitled, 1967 Ofset lithograph in monochrome, on wove paper, the full sheet. Signed in black ball-point pen on the reverse, one of only a small number of signed and unfolded proofs aside from the folded edition of an unknown size, published

by Castelli Gallery, New York for their Tenth Anniversary Exhibition, framed.

S. 65.4 x 55.8 cm (25 3/4 x 21 7/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600

168. Agnes Martin

1912-2004

Untitled, 1973 Screenprint in grey, on Japanese rag paper, with full margins, in the original windowmount. Signed and numbered 4/50 in pencil (there were also 15 artist’s proofs), published

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

I. 21 x 21 cm (8 1/4 x 8 1/4 in.)

S. 30.8 x 30.5 cm (12 1/8 x 12 in.)

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400

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169. Josef Albers

1888-1976

Formulation Articulation I & II, 1972 The complete set of 127 screenprints in colours, on 66 sheets of wove paper, folded (as issued), with full margins, contained in the original linen-covered black slipcase. Signed and numbered 899/1000 in black ink on the colophon, co-published by Harry N. Abrams, Inc., New York and Ives-Sillman, Inc., New Haven. lacking the two original linen-covered grey portfolios.

51.5 x 39.7 x 12.3 cm (20 1/4 x 15 5/8 x 4 7/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000

170. Anni Albers

1899-1994

Connections, 1925/1983 The complete set of nine screenprints in colours, on Cartiere Miliani of Fabriano Umbria Italia and Fabriano Cotton papers, with full margins, with an introduction From the Line to the Texture by the publisher, the sheets loose (as issued), contained in original paper-covered cardboard portfolio with printed title. All signed, dated variously from 1925-1983, and numbered 50/125 in pencil, published by Fausta Squatriti, Milan.

70 x 50.5 cm (27 1/2 x 19 7/8 in.)

Estimate £1,200-1,800 $1,500-2,300 €1,400-2,100 † Literature Nicholas Fox Weber and Brenda Danilowitz 71-79

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This lot is sold with no reserve

171. Günther Förg

1952-2013

WWM, 1990 The complete set of seven lithographs (including title page), on Korean Kozo paper, with full margins. All signed, dated and numbered ‘PP III/IV’ in pencil (one of 4 printer’s proof sets, the edition was 30), all unframed. all I. 65.7 x 100.4 cm (25 7/8 x 39 1/2 in.) all S. 130 x 92.5 cm (51 1/8 x 36 3/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 • ♠ Literature Günther Förg Archive number WVF.90.GR.0679

172. Arnulf Rainer

b. 1929

Acht Masken (Eight Masks), 1971 The complete set of eight drypoints, on Arches paper, with full margins, with colophon, the sheets loose (as issued), contained in the original card portfolio. All sheets signed and numbered 11/40 in pencil, the portfolio signed in black marker (from the frst half of the edition without hand-colouring), published by Galerie Heiner Friedrich, Munich.

59.7 x 41.4 cm (23 1/2 x 16 1/4 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ‡ ♠

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173. Gerhard Richter

b. 1932

Abstraktes Bild (P1), 1990/2013 Chromogenic print, fush-mounted to aluminium with metal strainer on the reverse (as issued), the full sheet, this facsimile object is unsigned and numbered 360/500 in black ink on the reverse, published by Fondation Beyeler, Basel, 2013.

91.8 x 125.4 cm (36 1/8 x 49 3/8 in.)

Estimate £8,000-10,000 $10,100-12,600 €9,600-11,900 ♠ Literature Heni Productions P1

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174. Gerhard Richter

b. 1932

Haggadah (P2), 2006/2013 Chromogenic print, fush-mounted to aluminium with metal strainer on the reverse (as issued).

This facsimile object is unsigned and numbered 360/500 in black ink on the reverse, published by Fondation Beyeler, Basel, 2013.

100 x 100 cm (39 3/8 x 39 3/8 in.)

Estimate £6,000-8,000 $7,600-10,100 €7,200-9,600 ♠ Literature Heni Productions P2

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175. Gerhard Richter

b. 1932

Bouquet (P3), 2006/2013 Chromogenic print, fush-mounted to aluminium with metal strainer on the reverse (as issued). This facsimile object is unsigned and numbered 360/500 in black ink on the reverse, published by Fondation Beyeler, Basel, 2013.

60 x 88 cm (23 5/8 x 34 5/8 in.)

Estimate £4,000-6,000 $5,000-7,600 €4,800-7,200 ♠ Literature Heni Productions P3

176. Gerhard Richter

b. 1932

Fence (P13), 2015 Giclée print, fush-mounted to aluminium with metal strainer on the reverse (as issued), the full sheet. This facsimile object is unsigned and numbered 319/500 in black ink on the reverse, published by The Serpentine Galleries, London 35.4 x 27 cm (13 7/8 x 10 5/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ‡ ♠ Literature Heni Productions P13

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177. Gerhard Richter

b. 1932

Zaun (Fence), 2016 Fine art print in colours, on Arches Velin paper, the full sheet, mounted along the upper edge to Alu Dibond (as issued).

Signed, dated and numbered 52/100 in blue ink on the pictured kerbstone (there were also 10 artist’s proofs), published to celebrate the 40th anniversary of the Museum Ludwig, Cologne, framed. print 37.3 x 28.9 cm (14 5/8 x 11 3/8 in.) alu dibond 53 x 43.5 cm (20 7/8 x 17 1/8 in.)

Estimate £5,000-7,000 $6,300-8,800 €6,000-8,400 ♠ Literature Hubertus Butin 171

178. Gerhard Richter

b. 1932

Victoria I and II, 2003 Two ofset lithographs in colours, on smooth wove paper, with full margins.

Both with printed signature, date ‘2003’ and title, the edition size unknown, published by Achenbach Art Edition, Düsseldorf, both framed. both I. 60 x 40 cm (23 5/8 x 15 3/4 in.) both S. 80 x 60 cm (31 1/2 x 23 5/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ♠

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179. Thomas Ruf

b. 1958

Substrat 34 I, 2007/2016 Chromogenic print, on photo paper, with full margins. Signed, dated and numbered 10/50 in pencil on the reverse, published by Whitechapel Gallery, London on the occasion of their Electronic Superhighway 2016-1966 exhibition, framed.

I. 45 x 40 cm (17 3/4 x 15 3/4 in.)

S. 55 x 50 cm (21 5/8 x 19 5/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ‡ ♠

180. Damien Hirst

b. 1965

Carvacrol, 2008 Screenprint in colours, with bronze glitter, on wove paper, with full margins. Signed and numbered 142/150 in pencil (there were also 10 artist's proofs), published by Other Criteria, London (with their blindstamp), framed.

I. 76 x 56 cm (29 7/8 x 22 in.)

S. 97.6 x 76 cm (38 3/8 x 29 7/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ♠

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181. Damien Hirst

b. 1965

Picrotoxin; and Nifedipine, from 40 Woodcut Spots, 2011 Two woodcuts in colours, on Somerset Textured paper, with full margins. Both signed in pencil on the front and numbered 25/55 in pencil on the reverse, published by The Paragon Press, London, both framed. both I. various sizes both S. 15.2 x 15.2 cm (6 1/8 x 6 1/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ‡ ♠

182. Damien Hirst

b. 1965

The Independent (RED), 2008 Screenprint in colours, on wove paper, with full margins. Signed by the artist and Bono and numbered 15/200 in pencil, published

by Other Criteria, London, framed.

I. 138.5 x 106 cm (54 1/2 x 41 3/4 in.)

S. 152 x 122.2 cm (59 7/8 x 48 1/8 in.)

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400 ♠ Published on the occasion of World Aids Day, 1st December 2007, this print is a replica of the front page of The Independent newspaper from 16th May 2006, as designed by Damien Hirst while Bono was guest editor for the landmark (RED) edition.

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183. Damien Hirst

b. 1965

Xylene Cyanol Dye Solution, 2005 Etching and aquatint in colours from the pair of two prints, on Hahnemühle paper, with full margins. Signed on the front and numbered 37/65 in pencil on the reverse (there were also 20 artist’s proofs), published by The Paragon Press, London, framed.

I. 58.5 x 38 cm (23 x 14 7/8 in.)

S. 96.3 x 73.3 cm (37 7/8 x 28 7/8 in.)

Estimate £5,000-7,000 $6,300-8,800 €6,000-8,400 ♠ †

184. Damien Hirst

b. 1965

Deus, Deus Meus, from Psalm Prints, 2009 Screenprint in colours with glaze and diamond dust, on wove paper, with full margins.

Signed and numbered 48/50 in pencil (there were also 10 artist’s proofs), published by Other Criteria, London, framed.

I. 60.5 cm (23 7/8 in.) diameter S. 74 x 71.5 cm (29 1/8 x 28 1/8 in.)

Estimate £4,000-6,000 $5,000-7,600 €4,800-7,200 ♠

Literature The Paragon Press 2001-2006 p. 258

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185. Tracey Emin

b. 1963

My Favourite Little Bird; and The Kiss was Beautiful, 2015-2016 Two ofset lithographic posters in colours, on silk fnish paper, the full sheets. Both signed and annotated ‘X’ in silver ink, from the unnumbered editions of 500, published by Emin International, London, both framed. both S. 70 x 50 cm (27 1/2 x 19 5/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ♠

186. Tracey Emin

b. 1963

Love is What You Want; and But Yeah, 2015 Two ofset lithographic posters in colours, on silk fnish paper, the full sheets. Both signed and annotated ‘X’ in silver ink, from the unnumbered editions of 500, published

by Emin International, London, both framed. both S. 70 x 50 cm (27 1/2 x 19 5/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ♠

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187. Banksy

b. 1975

Love Rat, 2004 Screenprint in colours, on wove paper, with full margins. Numbered 103/600 in pencil (there was also an edition of 150 signed impressions), published

by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued by Pest Control, framed.

I. 35 x 29 cm (13 3/4 x 11 3/8 in.)

S. 49.9 x 39.8 cm (19 5/8 x 15 5/8 in.)

Estimate £5,000-7,000 $6,300-8,800 €6,000-8,400 ♠

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188. Banksy

b. 1975

Soup Can (Original), 2005 Screenprint in colours, on wove paper, with full margins. Signed, dated and numbered ‘AP 5/10’ in pencil (an artist’s proof, the edition was 50 signed and 250 unsigned impressions), published

by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued by Pest Control, framed.

I. 25.5 x 15 cm (10 x 5 7/8 in.)

S. 50 x 35 cm (19 5/8 x 13 3/4 in.)

Estimate £5,000-7,000 $6,300-8,800 €6,000-8,400 ♠

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189. Banksy

b. 1975

Napalm (Can’t Beat the Feeling), from In the Darkest Hour There May be Light, 2006 Screenprint in colours, on wove paper, with full margins. Signed and numbered 41/50 in pencil (there were also 29 artist’s proofs), published by The Serpentine Gallery and Other Criteria, London, with the accompanying Certifcate of Authenticity issued by Pest Control, framed.

I. 22 x 29 cm (8 5/8 x 11 3/8 in.)

S. 29.7 x 41.6 cm (11 3/4 x 16 3/8 in.)

Estimate £5,000-7,000 $6,300-8,800 €6,000-8,400 ♠

190. Banksy

b. 1975

I Fought the Law, 2005 Screenprint in colours, on wove paper, with full margins. Signed, dated and numbered 115/150 in pencil (there were also 8 artist’s proofs, aside from the 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. 66.2 x 66.4 cm (26 1/8 x 26 1/8 in.)

S. 70.5 x 70 cm (27 3/4 x 27 1/2 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ♠

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191. Grayson Perry

b. 1960

Hold Your Beliefs Lightly, 2011 Machine embroidery in colours, on cotton and silk, stretched over board (as issued). Signed and numbered 189/250 in black ink on the reverse (there were also 10 artist’s proofs), published by Victoria Miro Gallery, London, framed.

28 x 40.5 cm (11 x 15 7/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ♠

192. Glenn Brown

b. 1966

Layered Portrait (Afer Lucian Freud) 3, 2008 Etching, on Somerset paper, with full margins.

Signed and numbered 9/30 in pencil (there were also 5 artist’s proofs), published by the artist, framed.

I. 77.5 x 60.5 cm (30 1/2 x 23 7/8 in.)

S. 94 x 74 cm (37 x 29 1/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 ♠

193. Jake and Dinos Chapman b. 1966/1962 Unhappy Meal, 2002 Etching, on Somerset paper, with full margins.

Signed and numbered 9/125 in pencil (there were also 25 artist’s proofs), published by White Cube, London, unframed.

I. 38 x 70.5 cm (14 7/8 x 27 3/4 in.)

S. 55.6 x 86 cm (21 7/8 x 33 7/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ♠

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194. Harland Miller

b. 1964

Who Cares Wins, from Artists with Liberty: Save Our Human Rights Act, 2016 Lithograph in colours, on Somerset Velvet paper, the full sheet. Signed and numbered 16/25 in pencil, published by Liberty, London, unframed.

S. 58.1 x 43 cm (22 7/8 x 16 7/8 in.)

Estimate £4,000-6,000 $5,000-7,600 €4,800-7,200 ♠

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195. Stik

b. 1979

Liberty (Nude), 2013 Screenprint in black and white, on beige Somerset paper, with full margins. Signed and numbered 2/2 in pencil, with the accompanying Certifcate of Authenticity, published by Squarity, London (with their blindstamp), framed.

I. 101.2 x 22.7 cm (39 7/8 x 8 7/8 in.)

S. 111.7 x 40.8 cm (43 7/8 x 16 1/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ♠

196. Julian Opie

b. 1958

Architect, from Walking in London 2, 2014 Lenticular acrylic panel, comprised of an inkjet print in colours printed directly onto 20 lpi lenticular animating lenses, back-mounted with Dibond, contained in a brushed aluminium frame specifed by the artist. Signed in black ink and numbered 21/50 (printed) on a label afxed to the reverse of the frame (there were also 10 artist’s proofs), published by Alan Cristea Gallery, London. frame 86 x 54.5 cm (33 7/8 x 21 1/2 in.)

Estimate £5,000-7,000 $6,300-8,800 €6,000-8,400 ♠ Literature Alan Cristea 270

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197. Julian Opie

b. 1958

Tourist with Watch, from Tourists, 2014 Screenprint in colours with hand-painting on Somerset Velvet paper, with full margins, contained in a sprayed white wooden frame specifed by the artist. Signed and numbered 9/20 in pencil on the reverse (there were also 7 artist’s proofs), published by Alan Cristea Gallery, London. frame 104.8 x 78.7 cm (41 1/4 x 30 7/8 in.)

Estimate £5,000-7,000 $6,300-8,800 €6,000-8,400 ♠ Literature Alan Cristea 278

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198. Marc Quinn

b. 1964

Sphinx, 2012 Screenprint with glaze and silver leaf, on Somerset paper, with full margins.

Signed on the front in pencil and numbered 30/150 in pencil on the reverse, published

by Manifold Editions, London, framed.

I. 55 x 41.8 cm (21 5/8 x 16 1/2 in.)

S. 69.9 x 54.8 cm (27 1/2 x 21 5/8 in.)

Estimate £800-1,200 $1,000-1,500 €960-1,400 ♠ †

199. Mario Testino

b. 1954

Kate Moss, London, 2006, 2012 Chromogenic print, on Fujifex Crystal Archive Supergloss paper, with full margins. Signed in black ink and numbered 99/175 on a label afxed to the reverse (there were also 25 artist’s proofs), published by Counter Editions, London, unframed, contained in the original cardboard portfolio box.

I. 41.2 x 53.4 cm (16 1/4 x 21 in.)

S. 50.8 x 61 cm (20 x 24 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 ‡ ♠

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200. Deborah Kass

b. 1952

Vote Hillary, 2016 Screenprint in colours, on Stonehenge paper, with full margins. Signed, dated and numbered 105/250 in pencil on the reverse, published by Brand X Editions, New York (with their blindstamp), unframed.

I. 101.5 x 101.5 cm (39 7/8 x 39 7/8 in.)

S. 106 x 106.5 cm (41 3/4 x 41 7/8 in.)

Estimate £1,000-1,200 $1,300-1,500 €1,200-1,400

201. Cindy Sherman

b. 1954

Untitled (Self-Portrait with Sun Tan), 2003 Chromogenic print, on photo paper, with full margins. Signed, dated ‘2003’ and numbered 32/350 in black ink on the reverse, published

by The Serpentine Gallery, London, on the occasion of the 2003 Cindy Sherman retrospective, framed.

I. 65.8 x 40.4 cm (25 7/8 x 15 7/8 in.)

S. 76.2 x 50.5 cm (30 x 19 7/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800

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202. Beatriz Milhazes

b. 1960

O Passeio em Rosa e Marrom (The Ride in Pink and Brown), 2016 Screenprint in colours, on wove paper, the full sheet. Signed, titled, dated and numbered 38/50 in pencil on the reverse (there were also 17 artist’s proofs), published by the Pinacoteca do Estado, São Paulo, Brazil, unframed.

S. 53.6 x 40.7 cm (21 1/8 x 16 in.)

Estimate £6,000-8,000 $7,600-10,100 €7,200-9,600

203. David Shrigley

b. 1968

Life is Fantastic, 2016 Screenprint in colours, on wove paper, the full sheet. Signed with initials, dated and numbered 27/125 in pencil, published by Counter Editions, London, unframed.

S. 76 x 60 cm (29 7/8 x 23 5/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 ♠

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204. Wade Guyton

b. 1972

Untitled (X Poster), 2008/2016 Epson UltraChrome inkjet print, on wove paper, the full sheet, folded (as issued), contained in the original cardboard portfolio box. Signed and numbered 46/100 in black ink on a label afxed to the portfolio.

S. 210 x 172.5 cm (82 5/8 x 67 7/8 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000

205. Katherine Bernhardt

b. 1975

Cheeseburger Deluxe, 2016 Lithograph in colours, on Somerset Velvet paper, with full margins. Signed, titled, dated and numbered 62/100, from the edition of unique colour variants, published

by Counter Editions, London, framed.

I. 69.7 x 96.7 cm (27 1/2 x 38 1/8 in.)

S. 71 x 97.7 cm (27 7/8 x 38 1/2 in.)

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400

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206. Yayoi Kusama

b. 1929

Pumpkin 2000 (Green), 2000 Screenprint in colours, on Colorplan paper, with full margins. Signed, titled, dated and numbered 18/100 in pencil (there were also 10 artist’s proofs), published by the Serpentine Gallery, London, framed.

I. 30 x 34 cm (11 3/4 x 13 3/8 in.)

S. 43 x 63 cm (16 7/8 x 24 3/4 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 Literature Yayoi Kusama 300

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This lot is sold with no reserve

207. Takashi Murakami

b. 1962

Flowerball (3D) - Papyrus; Flowerball (3D) – Turn Red!; Groping for the Truth; Letter to Picasso; There is Nothing Eternal in this World. That is Why You Are Beautiful; Flowerball (3D) – Blue, Red; Hey! You! Do You Feel What I Feel; Flowerball (3D) – Red, Pink, Blue; Comprehending the 51st Dimension; and Flowerball (3D) – Red Ball, 2013-2014 Ten ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered variously from the edition of 300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 71 cm (27 7/8 in.)

Estimate £4,000-6,000 $5,000-7,600 €4,800-7,200 • ‡ Artworks © 2013 and 2014 Takashi Murakami / Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is sold with no reserve

208. Takashi Murakami

b. 1962

Flower Ball (3-D) Sequoia sempervirens; Flower Ball (Lots of Colors); Flowerball sexual Violet No. 1 (3D); Right There, The Breadth of the Human Heart; and Flower Ball (3-D) Autumn 2004, 2013 Five ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered 115/300, 34/300, 114/300, 60/300 and 176/300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 71 cm (27 7/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 • ‡ Artworks © 2013 and 2014 Takashi Murakami / Kaikai Kiki Co. Ltd., All Rights Reserved.

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This lot is sold with no reserve

209. Takashi Murakami

This lot is sold with no reserve

b. 1962

Flowerball: Want to Hold You; Awakening; Open Your Hands Wide; Thoughts on Matisse; The Flowerball’s Painterly Challenge; Flowerball Multicolor; Thoughts on Picasso; and Scenery with a Rainbow in the Midst, 2014-2015 Eight ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered variously from the edition of 300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 71 cm (27 7/8 in.) diameter

210. Takashi Murakami

b. 1962

Flower Ball (Algae Ball); and Flower Dumpling, 2013 Two ofset lithographs in colours, on smooth wove paper, the full sheets. Both signed and numbered 54/300 and 51/300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. both S. 46 cm (18 1/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 • ‡ Artworks ©2013 and 2014 Takashi Murakami / Kaikai Kiki Co. Ltd., All Rights Reserved.

Estimate £4,000-6,000 $5,000-7,600 €4,800-7,200 • ‡ Artworks © 2013 and 2014 Takashi Murakami / Kaikai Kiki Co. Ltd., All Rights Reserved.

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This lot is sold with no reserve

211. Takashi Murakami

b. 1962

An Homage to Yves Klein, Multicolor C; An Homage to Monopink 1960 C; An Homage to Monogold 1960 C; and An Homage to IKB 1957 C, 2012 Four ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered 154/300, 184/300, 159/300 and 192/300 in black or silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 73.5 x 53 cm (28 7/8 x 20 7/8 in.)

Estimate £2,000-3,000 $2,500-3,800 €2,400-3,600 • ‡ Artworks © 2013 and 2014 Takashi Murakami / Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is sold with no reserve

212. Takashi Murakami

b. 1962

Shangri-La Pink; Bouquet of Love; Shangri-La Shangri-La Shangri-La; and Shangri-La Blue, 2012-2016 Four ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered 63/300, 70/300, 113/300 and 58/300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed.

S. 68 x 68 cm (26 3/4 x 26 3/4 in.)

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400 • ‡ Artworks © 2013 and 2014 Takashi Murakami / Kaikai Kiki Co. Ltd., All Rights Reserved.

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This lot is sold with no reserve

213. Takashi Murakami

b. 1962

And Then x 6 (Blue: The Superfat Method); And Then x 6 (Red: The Superfat Method); And Then x 6 (White: The Superfat Method, Pink and Blue Ears); and And Then, And Then And Then And Then And Then.

Yellow Universe, 2013 Three ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered 156/300, 163/300, 199/300 and 115/300 in black ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed.

S. 50 x 50 cm (19 5/8 x 19 5/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 • ‡ Artworks © 2013 and 2014 Takashi Murakami / Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is sold with no reserve

214. Takashi Murakami

b. 1962

And then and then and then and then and then (Pink); And then and then and then and then and then (Aqua Blue); And then and then and then and then and then (Yellow); and And then and then and then and then and then (Blue), 1999 Four ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered 115/300, 95/300, 161/300 and 93/300 in black ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 68 x 68 cm (26 3/4 x 26 3/4 in.)

Estimate £3,000-5,000 $3,800-6,300 €3,600-6,000 • ‡ Artworks © 2013 and 2014 Takashi Murakami / Kaikai Kiki Co. Ltd., All Rights Reserved.

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This lot is sold with no reserve

215. Takashi Murakami

This lot is sold with no reserve

b. 1962

Parallel Universe; Spiral; and The World and the World Beyond, 2013-2014 Three ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered 80/300, 62/300 and 69/300 in black ink, published

by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 68 x 68 cm (26 3/4 x 26 3/4 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 • ‡ Artworks © 2013 and 2014 Takashi Murakami / Kaikai Kiki Co. Ltd., All Rights Reserved.

216. Takashi Murakami

b. 1962

Agama; Enso: The Heart; Amitabha Buddha; Enso: Intellection; Enso: Tranquility; and Enso: Earthly Desires, 2015 Six ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered 61/300, 89/300, 120/300, 61/300, 55/300, 63/300 in black or silver ink, published

by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 68 x 68 cm (26 3/4 x 26 3/4 in.)

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400 • ‡ Artworks © 2013 and 2014 Takashi Murakami / Kaikai Kiki Co. Ltd., All Rights Reserved.

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This lot is sold with no reserve

217. Takashi Murakami

b. 1962

Enso: Memento for Red; Memento Mori Red on Blue; Enso: Zen The Heavens; Flower HOLLOW; and DEATH Flower, 2015 Five ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered 58/300, 46/300, 165/300, 142/300 and 106/300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 68 x 68 cm (26 3/4 x 26 3/4 in.)

Estimate £1,500-2,000 $1,900-2,500 €1,800-2,400 • ‡ Artworks © 2013 and 2014 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.

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This lot is sold with no reserve

218. Takashi Murakami

b. 1962

Panda & Panda Cubs; Kaikai & Kiki: Dreaming of Shangri-la; and The Creative Mind, 2015 Three ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and numbered 134/300, 110/300 and 193/300 in black or silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. (i) S. 50 x 50 cm (19 5/8 x 19 5/8 in.) (ii) S. 60 x 60 cm (23 5/8 x 23 5/8 in.) (iii) S. 68 x 68 cm (26 3/4 x 26 3/4 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 • ‡ Artworks © 2013 and 2014 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is sold with no reserve

219. Mark Grotjahn and Takashi Murakami b. 1968 and 1962 Untitled (Canary Yellow and Black Butterfy 830); and Untitled (Scarlet Lake and Indigo Blue Butterfy 826), 2008-2010 Two ofset lithographs in colours, on smooth wove paper, the full sheets. Both signed (Mark Grotjahn in black ink and Takashi Murakami in silver ink) and numbered 132/300 and 123/300 respectively in silver ink, published by Kaikai Kiki, Co., Ltd., Tokyo, both framed. both S. 70 x 55.5 cm (27 1/2 x 21 7/8 in.)

Estimate £1,000-1,500 $1,300-1,900 €1,200-1,800 • ‡ Artworks © 2013 and 2014 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.

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Guide for Prospective Buyers Buying at Auction The following pages are designed to offer you information on how to buy at auction at Phillips. Our staff will be happy to assist you.

Pre-Auction Viewing Pre-auction viewings are open to the public and free of charge. Our specialists are available to give advice and condition reports at viewings or by appointment.

Conditions of Sale The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips generally acts as agent for the seller. Bidders should also read the Important Notices and VAT information immediately following this Guide for Prospective Buyers.

Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician.

Buyer’s Premium Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including £100,000, 20% of the portion of the hammer price above £100,000 up to and including £1,800,000 and 12% of the portion of the hammer price above £1,800,000.

O ♦ Guaranteed Property The seller of lots designated with the symbol O has been guaranteed a minimum price fnanced solely by Phillips. Where the guarantee is provided by a third party or jointly by us and a third party, the property will be denoted with the symbols O ♦.

When a third party has fnanced all or part of our fnancial interest in a lot, it assumes all or part of the risk that the lot will not be sold and will be remunerated accordingly.

The compensation will be a fxed fee, a percentage of the hammer price or the buyer’s premium or some combination of the foregoing. The third party may bid on the guaranteed lot during the auction. If the third party is the successful bidder, the remuneration may be netted against the fnal purchase price. If the lot is not sold, the third party may incur a loss.

VAT Value added tax (VAT) may be payable on the hammer price and/or the buyer’s premium. The buyer’s premium may attract a charge in lieu of VAT. Please read carefully the VAT and Other Tax Information for Buyers section in this catalogue.

1 Prior to Auction Catalogue Subscriptions If you would like to purchase a catalogue for this auction or any other Phillips sale, please contact us at +44 20 7318 4010 or +1 212 940 1240.

Pre-Sale Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, offer a chance of success.

However, many lots achieve prices below or above the pre-sale estimates. Where ‘Estimate on Request’ appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or VAT. Pre-Sale Estimates in US Dollars and Euros Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction catalogues may also be printed in US dollars and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in US dollars or euros as a guide only.

Catalogue Entries Phillips may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate.

Condition of Lots Our catalogues include references to condition only in the descriptions of multiple works (e.g., prints). Such references, though, do not amount to a full description of condition. The absence of reference to the condition of a lot in the catalogue entry does not imply that the lot is free from faults or imperfections. Solely as a convenience to clients, Phillips may provide condition reports. In preparing such reports, our specialists assess the condition in a manner appropriate to the estimated value of the property and the nature of the auction in which it is included. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect the property at the pre-sale exhibitions and recommend, particularly in the case of any lot of significant value, that you retain your own restorer or professional advisor to report to you on the property’s condition prior to bidding. Any prospective buyer of photographs or prints should always request a condition report because all such property is sold unframed, unless otherwise indicated in the condition report. If a lot is sold framed, Phillips accepts no liability for the condition of the frame. If we sell any lot unframed, we will be pleased to refer the purchaser to a professional framer.

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Symbol Key The following key explains the symbols you may see inside this catalogue.

∆ Property in which Phillips has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

No Reserve •Unless indicated by a •, all lots in this catalogue are offered subject to a reserve.

A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

♠ Property Subject to the Artist’s Resale Right Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage of the hammer price and payable as part of the purchase price as follows: Portion of the Hammer Price (in EUR) From 0 to 50,000 From 50,000.01 to 200,000 From 200,000.01 to 350,000 From 350,000.01 to 500,000 Exceeding 500,000

Royalty Rate 4% 3% 1% 0.5% 0.25%

The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be based on the pounds sterling/euro reference exchange rate quoted on the date of the sale by the European Central Bank. ∑ Endangered Species Lots with this symbol have been identified at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import. Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale.

†, §, ‡, or Ω Property Subject to VAT Please refer to the section entitled ‘VAT and Other Tax Information for Buyers’ in this catalogue for additional information.

2 Bidding in the Sale Bidding at Auction Bids may be executed during the auction in person by paddle, by telephone, online or prior to the sale in writing by absentee bid. Proof of identity in the form of government-issued identification will be required, as will an original signature.

We may also require that you furnish us with a bank reference. Please note that buyers bidding in person, by telephone, online or by absentee bid will not have the right to cancel the sale of any lot purchased under the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013.

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Pablo Picasso TĂŞte de femme (de Profl), 1959 Linocut in colours Estimate $25,000-35,000

Sell With Us. Modern & Contemporary Editions New York, 18 April 2017 If you would like to sell a work of art through us at our Evening & Day Editions sales please contact: Kelly Troester (Modern) +1 212 940 1221, ktroester@phillips.com Cary Leibowitz (Contemporary) +1 212 940 1222, cleibowitz@phillips.com

phillips.com

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Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufficient time for us to process your information. All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staff member immediately. At the end of the auction, please return your paddle to the registration desk.

Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multilingual staff members. This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least £500. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and VAT, which we can execute on your behalf in the event we are unable to reach you by telephone.

Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at www.phillips.com. The digital saleroom is optimised to run on Google Chrome, Firefox, Opera and Internet Explorer browsers.

Clients who wish to run the platform on Safari will need to install Adobe Flash Player.

Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The first time you register you will be required to create an account; thereafter you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate firewalls may cause difficulties for online bidders.

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confidential. Bids must be placed in the currency of the sale. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders.

Always indicate a maximum bid, excluding the buyer’s premium and VAT. Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence.

Employee Bidding Employees of Phillips and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment.

UK£50 to UK£1,000 UK£1,000 to UK£2,000 UK£2,000 to UK£3,000 UK£3,000 to UK£5,000 UK£5,000 to UK£10,000 UK£10,000 to UK£20,000 UK£20,000 to UK£30,000 UK£30,000 to UK£50,000 UK£50,000 to UK£100,000 UK£100,000 to UK£200,000 above UK£200,000

by UK£50s

by UK£100s

by UK£200s

by UK£200s, 500, 800 (e.g. UK£4,200, 4,500, 4,800)

by UK£500s

by UK£1,000s

by UK£2,000s

by UK£2,000s, 5,000, 8,000

by UK£5,000s

by UK£10,000s at the auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

3 The Auction Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

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Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the beneficiary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot.

Consecutive and Responsive Bidding; No Reserve Lots The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate.

In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.

4 After the Auction Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements have been agreed with Phillips in writing in advance of the sale. Payment must be made in pounds sterling either by cash, cheque drawn on a UK bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of the local currency equivalent of US$10,000.

Credit Cards As a courtesy to clients, Phillips will accept American Express, Visa, MasterCard, UnionPay (for in-person transactions only) and UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply.

Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips has received full and cleared payment and we are not owed any other amount by the buyer. After the auction, we will transfer all lots to our fine art storage facility located near Wimbledon and will so advise all buyers. If you are in doubt about the location of your purchase, please contact the Shipping Department prior to arranging collection. We will levy removal, interest, storage and handling charges on uncollected lots.

Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven days following the auction.

Transport and Shipping As a free service for buyers, Phillips will wrap purchased lots for hand carry only.

We do not provide packing, handling or shipping services directly. However, we will coordinate with shipping agents instructed by you in order to facilitate the packing, handling and shipping of property purchased at Phillips. Please refer to Paragraph 7 of the Conditions of Sale for more information.

Export and Import Licences Before bidding for any property, prospective bidders are advised to make independent enquiries as to whether a licence is required to export the property from the United Kingdom or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licences or permits. The denial of any required licence or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

Endangered Species Items made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a licence or certificate prior to exportation and additional licences or certificates upon importation to the US or to any country within or outside the European Union (EU). Please note that the ability to obtain an export licence or certificate does not ensure the ability to obtain an import licence

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VAT and Other Tax Information for Buyers or certificate in another country, and vice versa. We suggest that prospective bidders check with their own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licences or certificates as well as any other required documentation. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientific analysis regarding continent of origin and confirmation the object is more than 100 years old. We have not obtained a scientific analysis on any lot prior to sale and cannot indicate whether elephant ivory in a particular lot is African or Asian elephant. Buyers purchase these lots at their own risk and will be responsible for the costs of obtaining any scientific analysis or other report required in connection with their proposed import of such property into the US. With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identification and age of an object in order to demonstrate that the object qualifies as an antique. This will require the buyer to obtain an independent appraisal certifying the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualified independent appraiser prior to placing a bid on the lot.

Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species.

Important Notices Items Sold under Temporary Admission We wish to draw your attention to changes recently made to items sold under temporary admission (originally called temporary importation). The cancelling or refunding of applicable VAT is now subject to items being exported from the EU within 30 days of payment, rather than 90 days from the date of sale as previously required. For up-to-date information on this matter, please refer to the section entitled VAT and Other Tax Information for Buyers below.

Identification of Business or Trade Buyers As of January 2010, Her Majesty’s Revenue & Customs (‘HMRC’) has made it an official requirement for auction houses to hold evidence of a buyer’s business status, due to the revised VAT rules regarding buyer’s premium for lots with symbols for businesses outside the UK. • Where the buyer is a non-EU business, Phillips requires evidence of the business status by means of the company identification, Certificate of Incorporation, Articles of Association or government-issued documents showing that the company exists.

• Where the buyer is an EU VAT registered business, Phillips requires the business’s VAT registration number.

These details can be scanned and emailed to us, or alternatively they can be faxed or mailed. If these requirements are not met, we will be unable to cancel/refund any applicable VAT.

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The following paragraphs provide general information to buyers on the VAT and certain other potential tax implications of purchasing property at Phillips. This information is not intended to be complete. In all cases, the relevant tax legislation takes precedence, and the VAT rates in effect on the day of the auction will be the rates charged. It should be noted that, for VAT purposes only, Phillips is not usually treated as agent and most property is sold as if it is the property of Phillips. In the following paragraphs, reference to VAT symbols shall mean those symbols located beside the lot number or the pre-sale estimates in the catalogue (or amending saleroom addendum).

1 Property with No VAT Symbol Where there is no VAT symbol, Phillips is able to use the Auctioneer’s Margin Scheme, and VAT will not normally be charged on the hammer price. Phillips must bear VAT on the buyer’s premium. Therefore, we will charge an amount in lieu of VAT at 20% on the buyer’s premium. This amount will form part of the buyer’s premium on our invoice and will not be separately identified.

2 Property with a † Symbol These lots will be sold under the normal UK VAT rules, and VAT will be charged at 20% on both the hammer price and buyer’s premium. Where the buyer is a relevant business person in the EU (non-UK) or is a relevant business person in a non-EU country then no VAT will be charged on the buyer’s premium. This is subject to Phillips being provided with evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence not be provided then VAT will be charged on the buyer’s premium.

3 Property with a § Symbol Lots sold to buyers whose registered address is in the EU will be assumed to be remaining in the EU. The property will be invoiced as if it had no VAT symbol.

However, if an EU buyer advises us that the property is to be exported from the EU, Phillips will re-invoice the property under the normal VAT rules. Lots sold to buyers whose address is outside the EU will be assumed to be exported from the EU. The property will be invoiced under the normal VAT rules. Although the hammer price will be subject to VAT, the VAT will be cancelled or refunded upon export. The buyer’s premium will always bear VAT unless the buyer is a relevant business person in the EU (non-UK) or is a relevant business person in a non-EU country, subject to Phillips receiving evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be charged on the buyer’s premium.

4 Property Sold with a ‡ or Ω Symbol These lots have been imported from outside the EU to be sold at auction under temporary admission. Property subject to temporary admission will be offered under the Auctioneer’s Margin Scheme and will be subject to import VAT of either 5% or 20%, marked by ‡ and Ω respectively, on the hammer price and an amount in lieu of VAT at 20% on the buyer’s premium. Anyone who wishes to buy outside the Auctioneer’s Margin Scheme should notify the Client Accounting Department before the sale.

Where lots are sold outside the Auctioneer’s Margin Scheme and the buyer is a relevant business person in the EU (non-UK) or is a relevant business person in a non-EU country then no VAT will be charged on the buyer’s premium. This is subject to Phillips receiving evidence of the buyer’s VAT registration number in the relevant Member State (non-UK) or the buyer’s business status in a non-EU country such as the buyer’s Tax Registration Certificate. Should this evidence not be provided VAT will be charged on the buyer’s premium.

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5 Exports from the European Union The following types of VAT may be cancelled or refunded by Phillips on exports made within three months of the sale date if strict conditions are met: • The amount in lieu of VAT charged on the buyer’s premium for property sold under the Auctioneer’s Margin Scheme (i.e., without a VAT symbol).

• The VAT on the hammer price for property sold under the normal VAT rules (i.e., with a † or a § symbol).

The following type of VAT may be cancelled or refunded by Phillips on exports made within 30 days of payment date if strict conditions are met: • The import VAT charged on the hammer price and an amount in lieu of VAT on the buyer’s premium for property sold under temporary admission (i.e., with a ‡ or a Ω symbol) under the Auctioneer’s Margin Scheme.

In each of the above examples, where the appropriate conditions are satisfied, no VAT will be charged if, at or before the time of invoicing, the buyer instructs Phillips to export the property from the EU. This will require acceptance of an export quotation provided by Phillips. If such instruction is received after payment, a refund of the VAT amount will be made.

Where the buyer carries purchases from the EU personally or uses the services of a third party, Phillips will charge the VAT amount due as a deposit and refund it if the lot has been exported within the timelines specified below and either of the following conditions are met: • For lots sold under the Auctioneer’s Margin Scheme or the normal VAT rules, Phillips is provided with appropriate original documentary proof of export from the EU within three months of the date of sale. Buyers carrying their own property should obtain hand-carry papers from the Shipping Department to facilitate this process.

• For lots sold under temporary admission, Phillips is provided with the original correct paperwork duly completed and stamped by HMRC which shows the property has been exported from the EU via the UK within 30 days of payment date. It is essential for shippers acting on behalf of buyers to collect copies of original import papers from our Shipping Department. HMRC insist that the correct customs procedures are followed and Phillips will not be able to issue any refunds where the export documents do not exactly comply with governmental regulations. Property subject to temporary admission must be transferred to another customs procedure immediately if any restoration or repair work is to be carried out.

Buyers carrying their own property must obtain hand-carry papers from the Shipping Department, for which a charge of £20 will be made. The VAT refund will be processed once the appropriate paperwork has been returned to Phillips.

Phillips is not able to cancel or refund any VAT charged on sales made to UK or EU private residents unless the lot is subject to temporary admission and the property is exported from the EU within 30 days of payment date. Any refund of VAT is subject to a minimum of £50 per shipment and a processing charge of £20.

6 VAT Refunds from HM Revenue & Customs Where VAT charged cannot be cancelled or refunded by Phillips, it may be possible to seek repayment from HMRC . Repayments in this manner are limited to businesses located outside the UK and may be considered for example for Import VAT charged on the hammer price for lots sold under temporary admission.

All claims made by customers located in another member state to the UK will need to be made under a new mechanism from 1 January 2010. The process prior to 1 January 2010 is no longer in operation.

If you are located in an EU member state other than the UK you will now need to apply for a refund of UK VAT directly to your local tax authority. This is done via submission of an electronically based claim form which should be accessed through the website of your local tax authority. As a result, your form may include VAT incurred in a number of member states. Furthermore, from 1 January 2010 you should only submit one form per year, rather than submitting forms throughout the year.

Please note that the time limits by which you must make a claim have been extended. When making a claim for VAT incurred in another EU member state any claim will still be made on a calendar year basis but must now be made no later than 30 September following that calendar year. This effectively extends the time by which claims should be made by three months (e.g., for VAT incurred in the year 1 January to 31 December 2010 you should make a claim to your local tax authority no later than 30 September 2011). Once you have submitted the electronic form to your local tax authority it is their responsibility to ensure that payment is obtained from the relevant member states. This should be completed within four months. If this time limit is not adhered to you may receive interest on the unpaid amounts.

If you are located outside the EU you should apply for a refund of UK VAT directly to HMRC (the rules for those located outside of the EU have not changed). Claim forms are only available from the HMRC website. Go to hmrc.gov.uk, select Forms under Quick Links and then Find a Form. The relevant form is VAT65A. Completed forms should be returned to: HM Revenue & Customs, VAT Overseas Repayments, 8th/13th Directive, PO Box 34, Foyle House, Duncreggan Road, Londonderry BT48 7AE, Northern Ireland, (tel) +44 (0)2871 305100 (fax) +44 (0)2871 305101, email enq.oru.ni@hmrc.gsi.gov.uk.

You should submit claims for VAT to HMRC no later than six months from the end of the 12 month period ending 30 June (e.g., claims for the period 1 July 2011 to 30 June 2012 should be made no later than 31 December 2012).

Please note that refunds of VAT will only be made where VAT has been incurred for a business purpose. Any VAT incurred on articles bought for personal use will not be refunded.

7 Sales and Use Taxes Buyers from outside the UK should note that local sales taxes or use taxes may become payable upon import of lots following purchase. Buyers should consult their own tax advisors.

Buyers intending to export, repair, restore or alter lots under temporary admission should notify the Shipping Department before collection. Failure to do so may result in the import VAT becoming payable immediately and Phillips being unable to refund the VAT charged on deposit.

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Conditions of Sale The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips and sellers, on the other hand. All prospective buyers should read these Conditions of Sale, the Important Notices and VAT information following the Guide for Prospective Buyers and the Authorship Warranty carefully before bidding.

1 Introduction Each lot in this catalogue is offered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers and (c) supplements to this catalogue or other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction.

By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer.

2 Phillips as Agent Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company affiliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an affiliated company may have a legal, beneficial or financial interest in a lot as a secured creditor or otherwise.

3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips in relation to each lot is partially dependent on information provided to us by the seller and Phillips is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested.

Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller; (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot offered for sale at Phillips is available for inspection by prospective buyers prior to the auction. Phillips accepts bids on lots on the basis that bidders (and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfied themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identification purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips at our absolute discretion. Neither Phillips nor any of our affiliated companies shall be liable for any difference between the presale estimates for any lot and the actual price achieved at auction or upon resale.

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4 Bidding at Auction (a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips. (b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the Absentee Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and value added tax (VAT). The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staff will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the Telephone Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips.

Telephone bidding is available for lots whose low pre-sale estimate is at least £500.

Phillips reserves the right to require written confirmation of a successful bid from a telephone bidder by fax or otherwise immediately after such bid is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation.

(d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request. Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are final and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘floor’ bids. ‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘floor’ or ‘phone’ bid are identical, the ‘floor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips before the commencement of the auction that the bidder is acting as agent on behalf of an identified third party acceptable to Phillips and that we will only look to the principal for such payment. (f) By participating in the auction, whether in person, by absentee bid, on the telephone or online, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal and state antitrust law. (g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers. While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct. (h) Employees of Phillips and our affiliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

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5 Conduct of the Auction (a) Unless otherwise indicated by the symbol •, each lot is offered subject to a reserve, which is the confidential minimum selling price agreed by Phillips with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-offer a lot for sale (including after the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises after the sale, our sale record is conclusive. The auctioneer may accept bids made by a company affiliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is offered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in pounds sterling and payment is due in pounds sterling. For the benefit of international clients, pre-sale estimates in the auction catalogue may be shown in US dollars and/or euros and, if so, will reflect approximate exchange rates. Accordingly, estimates in US dollars or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below. (f) If a lot is not sold, the auctioneer will announce that it has been ‘passed’, ‘withdrawn’, ‘returned to owner’ or ‘bought-in’. (g) Any post-auction sale of lots offered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction.

6 Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium, plus any applicable value added tax (VAT) and any applicable resale royalty (the ‘Purchase Price’). The buyer’s premium is 25% of the hammer price up to and including £100,000, 20% of the portion of the hammer price above £100,000 up to and including £1,800,000 and 12% of the portion of the hammer price above £1,800,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property offered and sold at auction. (b) VAT is payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of VAT. (c) If the Artist’s Resale Right Regulations 2006 apply to the lot, the buyer agrees to pay to us an amount equal to the resale royalty provided for in those regulations and we undertake to the buyer to pay such amount to the artist’s collection agent.

In circumstances where (i) we are on notice that the resale royalty is payable or (ii) we have not been able to ascertain the nationality of the artist, we will identify the lot with the symbol ♠ next to the lot number and will invoice the resale royalty to the buyer. If we subsequently determine that the nationality of the artist does not entitle him/her to the resale royalty on the lot, we will arrange a refund to the buyer of the amount of the royalty paid to us. If, after a sale in which we did not collect the resale royalty on a particular lot, we become aware that information provided to us prior to the auction concerning an artist’s nationality was incorrect and the artist is entitled to the resale royalty on the lot, the buyer shall pay the resale royalty to us upon receipt of an invoice.

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(d) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in pounds sterling either by cash, cheque drawn on a UK bank or wire transfer, as follows: (i) Phillips will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed the local currency equivalent of US$10,000.

(ii) Personal cheques and banker’s drafs are accepted if drawn on a UK bank and the buyer provides to us acceptable government-issued identifcation. Cheques and banker’s drafs should be made payable to Phillips Auctioneers Ltd. If payment is sent by post, please send the cheque or banker’s draf to the attention of the Client Accounting Department at 30 Berkeley Square, London, W1J6EX and ensure that the sale number is written on the cheque. Cheques or banker’s drafs drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Phillips. Bank transfer details: Bank of Scotland Gordon Street, Glasgow G1 3RS, Scotland Account of Phillips Auctioneers Ltd. Account No: 00440780 Sort code: 80-54-01 SWIFT/BIC: BOFSGB21138 IBAN: GB36BOFS80540100440780 (e) As a courtesy to clients, Phillips will accept American Express, Visa, MasterCard, UnionPay (for in-person transactions only) and UK-issued debit cards to pay for invoices of £50,000 or less. A processing fee will apply. (f) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds. Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identification has been provided, and any earlier release does not affect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price.

7 Collection of Property (a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our affiliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfied such other terms as we in our sole discretion shall require, including completing any anti-money laundering or anti-terrorism financing checks. As soon as a buyer has satisfied all of the foregoing conditions, he or she should contact us at +44 (0) 207 318 4081 or +44 (0) 207 318 4082 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. After the auction, we will transfer all lots to our fine art storage facility located near Wimbledon and will so advise all buyers. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from (i) the date of collection or (ii) seven days after the auction, whichever is the earlier. Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property.

(c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand carry only. We do not provide packing, handling, insurance or shipping services. We will coordinate with shipping agents instructed by the buyer, whether or not recommended by Phillips, in order to facilitate the packing, handling, insurance and shipping of property bought at Phillips. Any such instruction is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. (d) Phillips will require presentation of government-issued identification prior to release of a lot to the buyer or the buyer’s authorized representative.

8 Failure to Collect Purchases (a) If the buyer pays the Purchase Price but fails to collect a purchased lot within 30 days of the auction, the buyer will incur a storage fee of £10 per day for each uncollected lot. Additional charges may apply to oversized lots. We will not release purchased lots to the buyer until all such charges have been paid in full.

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(b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our affiliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction.

9 Remedies for Non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips‘s premises or elsewhere at the buyer’s sole risk and expense; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notification of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our affiliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set off the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our affiliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs; or (x) take such other action as we deem necessary or appropriate. (b) The buyer irrevocably authorizes Phillips to exercise a lien over the buyer’s property which is in our possession upon notification by any of our affiliated companies that the buyer is in default of payment. Phillips will notify the buyer of any such lien. The buyer also irrevocably authorizes Phillips, upon notification by any of our affiliated companies that the buyer is in default of payment, to pledge the buyer’s property in our possession by actual or constructive delivery to our affiliated company as security for the payment of any outstanding amount due.

Phillips will notify the buyer if the buyer’s property has been delivered to an affiliated company by way of pledge.

(c) If the buyer is in default of payment, the buyer irrevocably authorizes Phillips to instruct any of our affiliated companies in possession of the buyer’s property to deliver the property by way of pledge as the buyer’s agent to a third party instructed

by Phillips to hold the property on our behalf as security for the payment of the Purchase Price and any other amount due and, no earlier than 30 days from the date of written notice to the buyer, to sell the property in such manner and for such consideration as can reasonably be obtained on a forced sale basis and to apply the proceeds to any amount owed to Phillips or any of our affiliated companies after the deduction from sale proceeds of our standard vendor’s commission, all sale-related expenses and any applicable taxes thereon.

10 Rescission by Phillips Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party. Upon notice of Phillips election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale.

11 Export, Import and Endangered Species Licences and Permits Before bidding for any property, prospective buyers are advised to make their own enquiries as to whether a licence is required to export a lot from the United Kingdom or to import it into another country. Prospective buyers are advised that

UK_EDITIONS_JAN17_146-207.indd 197

some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value.

Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. Please note that the US prohibits the importation of any item containing African elephant ivory. Asian elephant ivory may be imported in to the US only if accompanied by independent scientifc analysis of continent of origin and confrmation the object is more than 100 years old.

With regard to any item containing endangered species other than elephant ivory, an importer into the US must provide documented evidence of the species identifcation and age of an object in order to demonstrate that the item qualifes as an antique. This will require the buyer to obtain an independent appraisal certify the species of endangered material on the object and certifying that the object is not less than 100 years of age. A prospective buyer planning to import an object containing endangered species into the US may not rely on Phillips cataloguing to establish the species of endangered material on the object or to establish the age of the object and must consult with a qualifed independent appraiser prior to placing a bid on the lot.

It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licences or permits. Failure to obtain a licence or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species.

12 Data Protection (a) In connection with the supply of auction and related services, or as required by law, Phillips may ask clients to provide personal data. Phillips may take and retain a copy of government-issued identification such as a passport or driving licence. We will use your personal data (i) to provide auction and related services; (ii) to enforce these Conditions of Sale; (iii) to carry out identity and credit checks; (iv) to implement and improve the management and operations of our business and (v) for other purposes set out in our Privacy Policy published on the Phillips website at www.phillips.com (the ‘Privacy Policy’) and available on request by emailing dataprotection@phillips.com. By agreeing to these Conditions of Sale, you consent to our use of your personal data, including sensitive personal data, in accordance with the Privacy Policy. The personal data we may collect and process is listed, and sensitive personal data is defined, in our Privacy Policy. Phillips may also, from time to time, send you promotional and marketing materials about us and our services.

If you would prefer not to receive such information, please email us at dataprotection@phillips.com. Please also email us at this address to receive information about your personal data or to advise us if the personal data we hold about you is inaccurate or out of date. (b) In order to provide our services, we may disclose your personal data to third parties, including professional advisors, shippers and credit agencies. We will disclose, share with and transfer your personal data to Phillips’s affiliated persons (natural or legal) for administration, sale and auction related purposes, including to persons outside the European Economic Area (EEA), where national laws may not provide an equivalent level of protection to personal data as that provided within the EEA. You expressly consent to such transfer of your personal data, including sensitive personal data, outside the EEA. We will not sell, rent or otherwise transfer any of your personal data to third parties except as otherwise expressly provided in this Paragraph 12. (c) Phillips’s premises may be subject to video surveillance and recording.

Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

13 Limitation of Liability (a) Subject to sub-paragraph (e) below, the total liability of Phillips, our affiliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot.

(b) Except as otherwise provided in this Paragraph 13, none of Phillips, any of our affiliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our affiliated companies or (ii) accepts responsibility to any bidder in respect of acts

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Authorship Warranty or omissions, whether negligent or otherwise, by Phillips or any of our affiliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot.

Phillips warrants the authorship of property in this auction catalogue described in headings in BOLD or CAPITALIZED type for a period of five years from date of sale

by Phillips, subject to the exclusions and limitations set forth below.

(c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and fitness for purpose, are specifically excluded by Phillips, our affiliated companies and the seller to the fullest extent permitted by law.

(a) Phillips gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gift from the original buyer, heirs, successors, beneficiaries and assigns; (ii) property where the description in the catalogue states that there is a conflict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientific methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot or (v) property where there has been no material loss in value from the value of the lot had it been as described in the heading of the catalogue entry.

(d) Subject to sub-paragraph (e) below, none of Phillips, any of our affiliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in sub-paragraph (a) above, whether such loss or damage is characterised as direct, indirect, special, incidental or consequential, or for the payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our affiliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions.

14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and, subject to the provisions of the Copyright, Designs and Patents Act 1988, such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.

15 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements.

(b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specified at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notified by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and effect. No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part.

(b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips. We shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notified Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the saleroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising after the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our affiliated companies and the seller and is in lieu of any other remedy available as a matter of law or equity. This means that none of Phillips, any of our affiliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

(e) No term of these Conditions of Sale shall be enforceable under the Contracts (Rights of Third Parties) Act 1999 by anyone other than the buyer.

16 Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with English law. (b) For the benefit of Phillips, all bidders and sellers agree that the Courts of England are to have exclusive jurisdiction to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply. All parties agree that Phillips shall retain the right to bring proceedings in any court other than the Courts of England. (c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by English law, the law of the place of service or the law of the jurisdiction where proceedings are instituted at the last address of the bidder or seller known to Phillips.

UK_EDITIONS_JAN17_146-207.indd 198

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Executive Management Chairman & CEO Edward Dolman Senior Advisors to the CEO Hugues Joffre, Chairman, UK & Europe Francesco Bonami Arnold Lehman Senior Directors Jean-Paul Engelen Henry Allsopp Vanessa Hallett Cary Leibowitz Zach Miner Scott Nussbaum Peter Sumner Kelly Troester

Worldwide Deputy Chairman Svetlana Marich

Chief of Staf Lisa King

Deputy Chairman Robert Manley

Chief Financial Ofcer Annette Schwaer

Matt Carey-Williams

Chief Creative & Marketing Ofcer Damien Whitmore

Deputy Chairmen, Europe & Asia Finn Schouenborg Dombernowsky Alexander Payne

Chief Communications & PR Ofcer Michael Sherman

Deputy Chairman, Americas August O. Uribe

Chief General Counsel Richard Aydon

Deputy Chairmen, Asia Jonathan Crockett Sam Hines

Senior Consultants Aurel Bacs Livia Russo

Chief Operating Ofcer, Americas Sean Cleary Chief Operating Ofcer, UK Europe & Asia Frank Lasry International Business Directors Bart van Son, 20th Century & Contemporary Art Myriam Christinaz, Jewelry, Watches, & Business Development

Directors Alex Heminway Nazgol Jahan Paul Maudsley

Senior Directors, Human Resources Jennifer Garvin Nicola Mason

International Specialists & Regional Directors

Strategy Projects Director Caroline Conegliano Associate General Counsel Jonathan Illari

Chicago Carol Ehlers Specialist, Consultant +1 773 230 9192

Brazil Cândida Sodré Regional Director, Brazil + 55 219 9981 7442

Portugal Maura Marvão Specialist, Consultant +351 917 564 427

Denver Melyora de Koning Senior Specialist +1 917 657 7193

Cologne Dr. Alice Trier Specialist +49 173 25 111 69

Japan Kyoki Hattori Regional Director +81 90 2245 6678

Los Angeles Blake Koh Regional Director +1 323 383 3266

Geneva Oksana Katchaluba Specialist +41 22 906 80 00

Korea Jane Yoon International Specialist +82 10 7389 7714

Miami Valentina Garcia Specialist +1 917583 4983

Istanbul Deniz Atac Specialist, Consultant +90 533 374 1198

Moscow Kalista Fenina Specialist +7 905 741 15 15

Seattle Silvia Coxe Waltner Regional Director +1 206 604 6695

Italy Carolina Lanfranchi Specialist, Consultant +39 33 8924 1720

Paris Maria Cifuentes Caruncho Specialist +33 142 78 67 77

Mexico Cecilia Laffan Regional Director +52 1 55 5413 9468

Taiwan Cindy Yen Specialist +886 963 135 449

UK_EDITIONS_JAN17_146-207.indd 199

Worldwide Ofces Sale Rooms

Regional Ofces

New York 450 Park Avenue New York, NY 10022, USA tel +1 212 940 1200 fax +1 212 940 1378

Milan Via Monte di Pietà, 1/A Milan 20121

London 30 Berkeley Square London W1J 6EX, United Kingdom tel +44 20 7318 4010 fax +44 20 7318 4011 Geneva 15 quai de l’Ile 1204 Geneva, Switzerland tel +41 22 317 81 81 fax +41 22 317 81 80 Hong Kong Room 1301-13/F, York House, The Landmark Building, 15 Queen’s Road Central, Hong Kong tel +852 2318 2000 fax +852 2318 2002

Moscow Nikolskaya Str 19–21, 5th foor, 109012 Moscow, Russia tel +7 495 225 88 22 fax +7 495 225 88 87 Paris 46 rue du Bac, 75007 Paris, France tel +33 1 42 78 67 77 fax +33 1 42 78 23 07 Tokyo Shin-Yurakucho Building 12-1, Yurakucho 1-chome Chiyoda-ku Tokyo, Japan Taiwan 1409 F14/Shin Kong Manhattan Building 8 Xin Yi Road, Section 5 Taipei, 11049, Taiwan

21/12/16 18:19

Specialists and Departments 20th Century & Contemporary Art Jean-Paul Engelen, Worldwide Co-Head 20th Century & Contemporary Art Robert Manley Worldwide Co-Head of 20th Century & Contemporary Art Jonathan Crockett Head of 20th Century & Contemporary Art, Asia August O. Uribe Bart Van Son London Peter Sumner, Head of Contemporary Art, London Henry Highley, Head of Evening Sale Tamila Kerimova, Head of Day Sale Jonathan Horwich Nathalie Zaquin-Boulakia Matthew Langton Iori Endo Simon Tovey Alex Dolman Ava Carleton-Williams Chiara Panarello Florencia Moscova

+1 212 940 1390 +1 212 940 1358 +852 2318 2023 +1 212 940 1208 +44 20 7318 7912 +44 20 7318 4063 +44 20 7318 4061 +44 20 7318 4065 +44 20 7901 7935 +44 20 7901 7931 +44 20 7318 4074 +44 20 7318 4039 +44 20 7318 4084 +44 20 7901 7911 +44 20 7901 7904 +44 20 7318 4073 +44 20 7318 4082

New York Scott Nussbaum, Head of 20th Century & Contemporary Art, New York Kate Bryan, Head of Evening Sale John McCord, Head of Day Sale Rebekah Bowling, Head of New Now Sale Zach Miner Rachel Adler Rosan Kevie Yang Karen Garka-Prince Amanda Lo Iacono Katherine Lukacher Samuel Mansour Annie Dolan Paula Campolieto Carolyn Mayer Maiya Aiba

+1 212 940 1354 +1 212 940 1267 +1 212 940 1261 +1 212 940 1250 +1 212 940 1256 +1 212 940 1333 +1 212 940 1254 +1 212 940 1204 +1 212 940 1260 +1 212 940 1215 +1 212 940 1219 +1 212 940 1288 +1 212 940 1255 +1 212 940 1212 +1 212 940 1387

Hong Kong Sandy Ma, Head of Sale Charlotte Raybaud Annie Tang

+852 2318 2025 +852 2318 2026 +852 2318 2024

Latin American Art Henry Allsopp, Worldwide Head Kaeli Deane, Head of Sale Valentina Garcia Carolina Scarborough Isabel Suarez Modern and Contemporary Editions Cary Leibowitz, Worldwide Co-Head Kelly Troester, Worldwide Co-Head London Robert Kennan, Head of Editions, Europe Anne Schneider-Wilson Ross Thomas Rebecca Tooby-Desmond New York Jannah Greenblatt Jason Osborne Kaissa Karhu

UK_EDITIONS_JAN17_146-207.indd 200

+44 20 7318 4060 +1 212 940 1352 +1 917 583 4983 +1 212 940 1391 +1 212 940 1227

+1 212 940 1222 +1 212 940 1221 +44 20 7318 4075 +44 20 7318 4042 +44 20 7318 4077 +44 20 7318 4079 +1 212 940 1332 +1 212 940 1322 +1 212 940 1238

Design Alexander Payne, Worldwide Head

+44 20 7318 4052

London Domenico Raimondo Adam Clay Madalena Horta e Costa, Head of Sale Marcus McDonald Sofia Sayn-Wittgenstein Marta De Roia Lisa Stevenson Ben Williams

+44 20 7318 4016 +44 20 7318 4048 +44 20 7318 4019 +44 20 7318 4095 +44 20 7318 4023 +44 20 7318 4096 +44 20 7901 7926 +44 7769 94 7177

New York Alex Heminway, New York Director Meaghan Roddy Cordelia Lembo, Head of Sale Kimberly Sørensen Jillian Pfferling Marcus Tremonto

+1 212 940 1268 +1 212 940 1266 +1 212 940 1265 +1 212 940 1259 +1 212 940 1268 +1 212 940 1268

Photographs Vanessa Hallett, Worldwide Head

+1 212 940 1243

New York Sarah Krueger, Head of Sale Caroline Deck Rachel Peart Marijana Rayl

+1 212 940 1225 +1 212 940 1247 +1 212 940 1246 +1 212 940 1386

Chicago Carol Ehlers

+1 773 230 9192

London Genevieve Janvrin, Head of Photographs, Europe Yuka Yamaji Alexandra Bibby Julia Scott Sophie Busby

+44 20 7318 7996 +44 20 7318 4098 +44 20 7318 4087 +44 20 7901 7940 +44 20 7318 4092

Watches Sam Hines, International Head of Watches

+852 2318 2030

Geneva Aurel Bacs, Senior Consultant Bacs & Russo Livia Russo, Senior Consultant Bacs & Russo Justine Séchaud, Bacs & Russo Alexandre Ghotbi Dr. Nathalie Monbaron Virginie Liatard-Roessli Diana Ortega

+41 22 317 81 85 +41 22 317 81 86 +41 22 317 8188 +41 22 317 8181 +41 22 317 81 83 +41 22 317 81 82 +41 22 317 8187

Hong Kong Amy Chow Jill Chen Joey Luk Tiffany To Angel Ho Zachary Lu

+852 2318 2035 +852 2318 2000 +852 2318 2032 +852 2318 2036 +852 2318 2031 +852 2318 2034

Japan Genki Sakamoto Kaz Fujimoto

+81 3 6273 4818 +81 3 6273 4818

Taiwan Cindy Yen

+886 963 135 449

London Paul David Maudsley Kate Lacey

+44 20 7901 7916 +44 20 7901 2907

New York Paul Boutros Douglas Escribano Leigh Zagoory

+1 212 940 1293 +1 212 940 1382 +1 212 940 1285

21/12/16 10:13

Specialists and Departments Jewels Hong Kong Terry Chu, Head of Jewellery, Asia Charlene Lau Anellie Manolas Sammie Leung New York Nazgol Jahan

+852 2318 2038 +852 23 18 2039 +852 9383 3041 +852 2318 2040

+1 212 940 1283

London Lane Clements McLean

+44 20 7318 4032

Exhibitions Edwin Pennicott

+44 20 7901 2909

Arts Partnerships London Isa Tharin New York Cecilia Wolfson Private Sales Susanna Brockman Proposals London Arianna Webb New York Lauren Zanedis Executive Assistant to the Chairman & CEO and Chief of Staff Lucinda Newman

Operations Hong Kong Juliana Cheung, Chief Operating Ofcer

+852 2318 2020

Client Advisory London Guy Vesey Dawn Zhu Lily Atherton Hanbury Fiona M. McGovern

+44 20 7901 7934 +44 20 7318 4017 +44 20 7318 4071 +44 20 7318 4054

New York Philae Knight Sara Tayeb-Khalifa

+1 212 940 1313 +1 212 940 1383

+44 20 7318 4041

Communications and Marketing Michael Sherman, Chief Communications and Public Relations Ofcer Katie Carder, PR Manager, EMEA Jaime Israni, PR Specialist Emma Miller Gelberg, Associate Manager, Marketing and Business Development Charlotte Adlard, Marketing Associate Georgia Trotter, Events Manager

+44 20 7901 7941

Creative Services Andrea Koronkiewicz, Director of Creative Services Orlann Capazorio, Director of Production

+44 20 7318 4024 +1 212 940 1258

+1 212 940 1271 +44 207 318 4099

Executive Assistant to the Chairman & CEO and Senior Advisor to the CEO Elizabeth Anne Wallace +1 212 940 1303

London Eve Campbell, Creative Services Manager Moira Gil, Graphic Designer Laurie-Ann Ward, Graphic Designer New York Jef Velazquez, Production Artist Christine Knorr, Graphic Designer James Reeder, Graphic Designer

+1 212 940 1384 +44 20 7901 7938 +1 212 940 1398 +1 212 940 1291 +44 207 901 7905 +44 20 7318 4085 +1 212 940 1326 +1 212 940 1281 +44 20 7901 7919 +44 20 7901 7917 +44 20 7901 7918 +1 212 940 1211 +1 212 940 1325 +1 212 940 1296

Sale Information Editions Day & Evening Sale

Sale Department

Auction and Viewing Location 30 Berkeley Square, London W1J 6EX

Head of Sale Robert Kennan +44 20 7318 4075 rkennan@phillips.com

Auctions 19 January 2017, 2pm and 6pm Evening Auction Lot 1 - 55, 6pm Day Auction Lot 56 - 219, 2pm Viewing 12 – 19 January 2017 Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation In sending in written bids or making enquiries please refer to this sales as UK030117 or Editions Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 Susanna Brockman +44 20 7318 4041 Rebecca Coombs +44 20 7901 7927 bidslondon@phillips.com

UK_EDITIONS_JAN17_146-207.indd 201

Specialists Anne Schneider-Wilson +44 20 7318 4042 aschneider-wilson@phillips.com

Auctioneers Henry Highley Adam Clay Hugues Joffre Susanna Brockman

Ross Thomas +44 20 7318 4077 rthomas@phillips.com

Catalogues London +44 20 7901 7927 New York +1 212 940 1240 catalogues@phillips.com £22/€25/$35 at the gallery

Cataloguer Rebecca Tooby-Desmond +44 20 7318 4079 rtooby-desmond@phillips.com

Client Accounting Richard Addington, Head of Client Accounting +44 20 7901 7914

Administrator Louisa Earl +44 20 7318 4069 learl@phillips.com

Jason King, Client Accounting, Director +44 20 7318 4086

Property Manager Surya Buck +447867 430097 sbuck@phillips.com Photographers Jean Bourbon Kent Pell Charlie Sheldon Marta Zagozdzon

Buyer Accounts Carolyn Whitehead +44 20 7318 4020 Seller Accounts Surbjit Dass +44 20 7318 4072 Client Services 30 Berkeley Square, London W1J 6EX +44 20 7318 4010 Shipping Jan Navratil +44 20 7318 4081 Lewis Thomas +44 20 77901 7920 Charlotte Turner +44 20 7318 4047

21/12/16 10:13

30 Berkeley Square, London, W1J 6EX phillips.com +44 20 7318 4010 bidslondon@phillips.com Please return this form by fax to +44 20 7318 4035 or email it to bidslondon@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying as an individual or on behalf of a company.

Please select the type of bid you wish to make with this form (please select one):

In-person Absentee Bidding Telephone Bidding

Paddle Number

• If you cannot attend the sale, we can execute bids confdentially on your behalf.

As a private individual On behalf of a company

Title

Sale Number First Name

Sale Date

Surname Account Number

Company (if applicable)

• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including £100,000, 20% of the portion of the hammer price above £100,000 up to and including £1,800,000 and 12% of the portion of the hammer price above £1,800,000.

• “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

VAT number (if applicable) Address

City

• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable VAT. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specifed, if less than 50% of the low estimate.

State/Country

Post Code Phone

Mobile

Email

Fax

• Your bid must be submitted in the currency of the sale and will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

• If we receive identical bids, the frst bid received will take precedence.

Phone number to call at the time of sale (for Phone Bidding only) 1.

2.

Please complete the following section for telephone and absentee bids only Lot number

• Company Purchases: We require a copy of government-issued identifcation (such as the certifcate of incorporation) to verify the status of the company. This should be accompanied by an ofcial document confrming the company’s EU VAT registration number, if applicable, which we are now required by HMRC to hold.

• Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

Please indicate in what capacity you will be bidding (please select one):

Sale Title

• Private Purchases: Proof of identity in the form of government-issued identification will be required.

Brief description

In Consecutive Order

Maximum pound sterling price* Absentee Bids Only

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct.

Agreement to bid by telephone must be confrmed by you promptly in writing or by fax. Telephone bid lines may be recorded.

• Please submit your bids to the Bid Department by fax at +44 20 7318 4035 or scan and email to bidslondon@phillips.com at least 24 hours before the sale. You will receive confrmation by email within one business day. To reach the Bid Department by phone please call +44 20 7318 4045.

• Absent prior payment arrangements, please provide a bank reference. Payment for lots can be made by cash (up to £5,000), credit card (up to £50,000) using Visa, American Express, Mastercard or Union Pay (for in person transactions only), UK debit cards, wire transfer, banker’s draf or personal cheque with identifcation, drawn on UK banks. Please note that credit cards are subject to a surcharge.

• Lots cannot be collected until payment has cleared and all charges have been paid.

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Sell with us.

20th Century & Contemporary Art Evening & Day Auctions London, 6 & 7 March 2017 We are proud to present our London 20th Century & Contemporary Art auctions, featuring this work by Josef Albers.

Josef Albers Study for Homage to the Square: Wet and Dry oil on masonite 40.6 x 40.6 cm (15 7/8 x 157/8 in.)

Painted in 1969.

Visit our public viewing from 27 February – 6 March 2017 at 30 Berkeley Square W1J 6EX or visit phillips.com If you would like to sell a work of art through us in our upcoming auction please contact: contemporaryartlondon@phillips.com +44 20 7901 7904

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9. Frank Stella

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Index Aitchison, C. 101, 102 Albers, A. 170 Albers, J. 169 Almond, D. 59 Andrews, S. 3 Arp, J. 75 Auerbach, F. 128, 129, 130 Bacon, F. 19, 20 Bacon, F. (afer) 126, 127 Banksy 187, 188, 189, 190 Bernhardt, K. 205 Beuys, J. 55, 56 Blake, P. 97, 98 Braque, G. 1 Broodthaers, M. 52 Brown, G. 192 Caulfeld, P. 125 Chagall, M. 84, 85, 86 Chapman, J. and D. 193 Christo and Jeanne-Claude 96 Clemente, F. 163 Cottingham, R. 11, 145 Dalí, S. 90, 91 Davie, A. 105 Delvaux, P. 81 Dine, J. 143 Dubufet, J. 4, 50, 92

Indiana, R. 146, 147, 148, 149 Johns, J. 29, 142 Kapoor, A. 70 Kass, D. 200 Kitaj, R. B. 123 Koons, J. 53, 54, 72 Kusama, Y. 206 Laing, G. 122, 124 Le Corbusier 76 le Parc, J. 64 Lichtenstein, R. 150, 151, 152, 153 Longo, R. 45

Opie, J. 42, 43, 44, 196, 197 Paladino, M. 83 Perry, G. 40, 41, 191 Picasso, P. 2, 73, 74, 77, 79, 80 Picasso, P. (afer) 78 Piper, J. 104 Pistoletto, M. 60 Pollock, J. 8 Quinn, M. 198 Rainer, A. 172 Rauschenberg, R. 66 Richter, G. and Genzken, I. 49 Richter, R. 173, 174, 175, 176, 177, 178 Riley, B. 30, 131, 132, 133, 134, 135, 136, 137 Ruf, T. 179 Ruscha, E. 160, 162 Scott, W. 103 Scully, S. 138, 139, 140 Sherman, C. 201 Shrigley, D. 203 Soto, J. R. 62 Stella, F. 9, 141 Stik 71, 195 Sutherland, G. 109

Giacometti, A. 89 Guyton, W. 204

Marca-Relli, C. 164 Martin, A. 168 Matisse, H. 87, 88 Milhazes, B. 202 Miller, H. 194 Miró, J. 6, 93, 95 Miró, J. (afer) 94 Moore, H. 111, 112, 113, 114, 115, 116 Motherwell, R. 144 Murakami, T. 68, 207, 208, 209, 210, 211, 212, 213, 214, 215, 216, 217, 218, 219

Cover Artwork by: David Hockney Lot 23, David Hockney, Steps with Shadow F (Paper Pool 2), 1978 (detail) © David Hockney / Tyler Graphics Ltd.

Back Cover Artwork by: Andy Warhol Lot 13, Andy Warhol, Liz, 1964 (detail), © 2016 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York and DACS, London 2016

Emin, T. 185, 186 Fontana, L. 51 Förg, G. 171 Francis, S. 7 Freud, L. 21 Frink, E. 99, 100, 117

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Hadid, Z. 69 Haring, K. 38, 39, 154, 155, 156 Hatoum, M. 57 Heron, P. 108 Hirst, H. 31, 32, 33, 34, 35, 36, 37, 180, 181, 182, 183, 184 Hockney, D. 22, 23, 24, 25, 26, 27, 28, 118, 119, 120, 121 Hodgkin, H. 106 Holzer, J. 61 Hoyland, J. 107 Hughes, P. 65, 110

Tamayo, R. 5, 82 Testino, M. 199 Twombly, C. 165, 166, 167 van Warmerdam, M. 161 Various Artists 10, 67 Vasarely, V. 63 Warhol, A. 12, 13, 14, 15, 16, 17, 18, 157, 158, 159 Wesselmann, T. 48 Whiteread, R. 58 Wool, C. 46, 47

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8. Jackson Pollock

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55.

X. Joseph X Beuys

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