EVENING & DAY EDITIONS [Catalogue]

Evening & Day Editions London, 9 June 2016

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46. Andy Warhol

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40. Andy Warhol

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61. KAWS

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Evening & Day Editions London, 9 June 2016, 2pm & 6pm Americas.

Cary Leibowitz

Kelly Troester

Jannah Greenblatt

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

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

Specialist jgreenblatt@phillips.com +1 212 940 1332

London.

Robert Kennan

Anne Schneider-Wilson

Ross Thomas

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

Chairmen.

Hugues Jofre

Svetlana Marich

Matt Carey-Williams

Chairman, UK and Europe, and Worldwide Head of 20th Century Art +44 20 7901 7923 hjofre@phillips.com

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

Head of Business Development, Deputy Chairman +44 20 7318 4089 mcarey-williams@phillips.com

Auction and Viewing Location 30 Berkeley Square London W1J 6EX Auctions 9 June 2016 Evening Auction Day Auction

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

Jonathan Crockett

David Georgiades

August Uribe

Deputy Chairman, Asia +852 2318 2023 jcrockett@phillips.com

Deputy Chairman, Americas +1 212 940 1280 dgeorgiades@phillips.com

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

Modern and Contemporary Editions Head of Sale Robert Kennan +44 20 7318 4075 rkennan@phillips.com

Lots 1 – 69, 6pm Lots 70 – 245, 2pm

Viewing 3 – 9 June 2016 Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation In sending in written bids or making enquiries please refer to this sale as UK030216 or Editions.

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

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Finn Schouenborg Dombernowsky

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 Eliza Allan +44 20 7318 4069 eallan@phillips.com

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25. Lee Ufan

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Evening Editions Lot 1 – 69, 6pm

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1. Pablo Picasso

1881-1973

Chouette (Owl), 1968 White earthenware turned vase, painted in colours, with knife engraving and partial brushed glaze, incised 49/500 and ‘EDITION PICASSO’, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

29 x 15 x 20 cm (11 3/8 x 5 7/8 x 7 7/8 in.)

Estimate £8,000-10,000 $11,500-14,400 €10,100-12,600 ♠ Literature Alain Ramié 543

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2. Pablo Picasso

1881-1973

Visage et hibou (Face and Owl), 1958 Red earthenware turned vase, painted in colours, with partial brushed glaze, numbered 60/200 and inscribed ‘EDITION PICASSO’ in black, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

25 x 21 x 18 cm (9 7/8 x 8 1/4 x 7 1/8 in.)

Estimate £20,000-30,000 $28,800-43,300 €25,300-37,900 ♠ Literature Alain Ramié 407

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3. Pablo Picasso

1881-1973

Petit pichet de hibou (Small Owl Pitcher), 1955 White earthenware turned pitcher, painted in colours, with brushed glaze, from the edition of 500, inscribed ‘EDITION PICASSO’ and ‘MADOURA’ in black, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

28 x 12 x 16 cm (11 x 4 3/4 x 6 1/4 in.)

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 ♠ Literature Alain Ramié 293

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4. Pablo Picasso

1881-1973

Visage (Face), 1955 White earthenware turned jug, painted in colours, with glaze on the inside, from the edition of 500, inscribed ‘EDITION PICASSO’ and ‘MADOURA’ in black, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

29 x 10 x 13 cm (11 3/8 x 3 7/8 x 5 1/8 in.)

Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900 ♠ Literature Alain Ramié 288

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5. Pablo Picasso

1881-1973

Femme (Woman), 1955 White earthenware turned jug, painted in colours, with glaze on the inside, numbered 42/100 and inscribed ‘EDITION PICASSO’ in black, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

30.5 x 10 x 14 cm (12 x 3 7/8 x 5 1/2 in.)

Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900 ♠ Literature Alain Ramié 300

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6. Pablo Picasso

1881-1973

Lampe femme (Woman Lamp), 1955 White earthenware turned vase, a variant painted in colour, with knife engraving, from the edition of 100, inscribed ‘EDITION PICASSO’ in black, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

37 x 19 x 9 cm (14 5/8 x 7 1/2 x 3 1/2 in.)

Estimate £7,000-9,000 $10,100-13,000 €8,900-11,400 ♠ Literature Alain Ramié 294/298

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7. Pablo Picasso

1881-1973

8. Pablo Picasso

1881-1973

Picador (Bullfghter), 1952 Red earthenware turned pitcher, painted in black, with partial brushed glaze, from the edition of 500, incised ‘EDITION PICASSO’, with the Madoura Plein Feu pottery stamp on the underside.

13 x 7.5 x 10 cm (5 1/8 x 2 7/8 x 3 7/8 in.)

Pichet Espagnol (Spanish Pitcher), 1954 White earthenware turned vase, painted in colours, with knife engraving and glaze on the inside, numbered 37/200 and inscribed ‘EDITION PICASSO’ and ‘MADOURA’ in black, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

21 x 26 x 9 cm (8 1/4 x 10 1/4 x 3 1/2 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 ♠

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 ♠

Literature Alain Ramié 162

Literature Alain Ramié 245

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9. Pablo Picasso

1881-1973

10. Pablo Picasso

1881-1973

Yan soleil (Yan Sun), 1963 Red earthenware turned pitcher, painted in black, incised ‘EDITION PICASSO’ and numbered 46/300, with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside.

27 x 16 x 12 cm (10 5/8 x 6 1/4 x 4 3/4 in.)

Visage no. 202 (Face no. 202), 1963 White earthenware round dish, painted in colours, with brushed glaze, titled, numbered 446/500 and inscribed ‘EDITION PICASSO’ and ‘MADOURA’ in black on the underside.

25 cm (9 7/8 in.) diameter

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 ♠

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 ♠

Literature Alain Ramié 516

Literature Alain Ramié 495

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Property from an Important Japanese Collection

11. Pablo Picasso

1881-1973

Minotaure aveugle guidé par Marie-Thérèse au pigeon dans une nuit étoilée (Blind Minotaur Guided Through a Starry Night by Marie-Thérèse with a Dove), plate 97, from La Suite Vollard, 1934 Sugar-lif aquatint, scraper, drypoint and engraving, on Montval laid paper watermarked Vollard, with full margins (deckle on two sides), the fourth (fnal) state, signed in pencil, from the edition of 260 (there was also an edition of 50 with wide margins), published by Ambroise Vollard, Paris, printed by Roger Lacourière, 1939, framed.

I. 24.5 x 34.5 cm (9 5/8 x 13 5/8 in.)

S. 33.7 x 44.5 cm (13 1/4 x 17 1/2 in.)

Estimate £50,000-70,000 $72,100-101,000 €63,200-88,500 ‡ ♠ Literature Georges Bloch 225 Brigitte Baer 437/IV/B/d Exhibited Hiroshima Prefectural Art Museum, Hiroshima, Prints of Picasso, 4 August – 30 August 1998

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12. Pablo Picasso

1881-1973

Faune dévoilant une femme (Faun Revealing a Woman), plate 27, from La Suite Vollard, 1936 Sugar-lif aquatint, scraper and burin, on Montval laid paper watermarked Picasso, with full margins (deckle on two sides), the sixth (fnal state), signed in pencil, from the edition of 260 (there was also an edition of 50 with wider margins), published by Ambroise Vollard, Paris, printed by Roger Lacourière, 1939, framed.

I. 31.5 x 41.5 cm (12 3/8 x 16 3/8 in.)

S. 34 x 44.5 cm (13 3/8 x 17 1/2 in.)

Estimate £40,000-60,000 $57,700-86,500 €50,600-75,900 ‡ ♠ Literature Georges Bloch 230 Brigitte Baer 609/VI/B/d

‘If all the ways I have been along were marked on a Pablo Picasso

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ed on a map and joined up with a line, it might represent a minotaur.’

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13. Marc Chagall

1887-1985

A Midi, L’Été (At Noon, Summer), pl. 11, from Daphnis et Chloé, 1961 Lithograph in colours, on Arches paper, with full margins, signed and numbered 13/60 in pencil (there was also an unsigned edition of 250 without margins), published by Tériade, Paris, unframed.

I. 42.3 x 32.2 cm (165/8 x 125/8 in.)

S. 54 x 37.9 cm ( 211/4 x 147/8 in.)

Estimate £10,000-15,000 $14,400-21,600 €12,600-19,000 ‡ ♠ Literature Fernand Mourlot and Charles Sorlier 318 see Patrick Cramer books 46

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14. Marc Chagall

1887-1985

Le Magicien de Paris II (The Magician of Paris II), 1969-70 Lithograph in colours, on Arches paper, with full margins, signed, titled and numbered 29/50 in pencil (there were also 25 artist’s proofs), framed.

I. 87 x 68 cm (34 1/4 x 26 3/4 in.)

S. 96 x 69.3 cm (37 3/4 x 27 1/4 in.)

Estimate £10,000-15,000 $14,400-21,600 €12,600-19,000 ‡ ♠ Literature Fernand Mourlot 598

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15. Joan Miró

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1893-1983

16. Jackson Pollock

1912-1956

Souris rouge à la mantille (Red Mouse in Mantilla), 1975 Aquatint in colours, on Arches paper, with full margins (deckle on two sides), signed and numbered 7/50 in pencil (there were also some hors commerce impressions), published by Maeght, Paris, unframed.

I. 114.7 x 73.7 cm (45 1/8 x 29 in.)

S. 137.9 x 95.2 cm (54 1/4 x 37 1/2 in.)

Untitled, circa 1944/1967 Engraving and drypoint in brown-black, on heavy wove paper, with full margins, the third (fnal) state, numbered 21/50 in pencil in another hand, printed posthumously by Emiliano Sorini (with his and the Estate of Jackson Pollock’s blindstamps), framed.

I. 30 x 25 cm (11 3/4 x 9 7/8 in.)

S. 50.8 x 34.9 cm (20 x 13 3/4 in.)

Estimate £8,000-12,000 $11,500-17,300 €10,100-15,200 ‡ ♠

Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600 ‡

Literature Jacques Dupin 751

Literature Francis Valentine O’Connor and Eugene Victor Thaw 1071

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17. Francis Bacon

1909-1992

Seated Figure (afer, Study for a Portrait 1981), 1983 Etching and aquatint in colours, on Guarro paper, with full margins, signed and numbered 2/99 in pencil (there were also 99 copies on Arches paper in Roman numerals and 15 artist’s proofs for each paper), published by Ediciones Polígrafa, Barcelona, unframed.

I. 72.3 x 53.7 cm (28 1/2 x 21 1/8 in.)

S. 101.6 x 70.6 cm (40 x 27 3/4 in.)

Estimate £10,000-15,000 $14,400-21,600 €12,600-19,000 ♠ Literature Bruno Sabatier 5 Alexandre Tacou 15

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18. Francis Bacon

1909-1992

Deuxième version du triptyque 1944 (afer, Second Version of the Triptych 1944), 1989 The complete set of three lithographs in colours, on Arches Infnity paper, with full margins, all signed and numbered 9/60 in pencil (there were also 23 hors commerce impressions and 8 artist’s proofs), published

by Michel Archimbaud for the Librarie Séguier for IRCAM Centre Pompidou, Paris, all framed. all I. 62 x 46 cm (24 3/8 x 18 1/8 in.) all S. 75 x 56 cm (29 1/2 x 22 in.)

Estimate £15,000-20,000 $21,600-28,800 €19,000-25,300 ♠ Literature Bruno Sabatier 24 Alexandre Tacou 25

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19. Richard Hamilton

1922-2011

Archive II, 1981 Lithograph, on Fabriano paper, with full margins, signed and numbered 7/15 in pencil (there were also 2 artist’s proofs), published by Waddington Graphics (with their blindstamp), London, framed.

I. 80 x 56.5 cm (31 1/2 x 22 1/4 in.)

S. 93 x 70.5 cm (36 5/8 x 27 3/4 in.)

Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600 ‡ ♠ Literature Etienne Lullin 119

20. Marcel Duchamp and Jacques Villon 1887-1968 and 1875-1963 Mariée (Bride), 1934 Aquatint in colours, on Arches paper, with full margins, signed by Duchamp and Villon, and titled in pencil (a proof aside from the edition of 200, there was also an edition of 20 with a profle of a Knight in the lower right), published by Galerie Bernheim-Jeune, Paris, framed.

I. 48.9 x 30.8 cm (19 1/4 x 12 1/8 in.)

S. 64.8 x 49.5 cm (25 1/2 x 19 1/2 in.)

Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900 ‡ ♠ Literature Arturo Schwarz 433 Colette de Ginestet and Catherine Pouillon 672

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21. Marcel Duchamp

1887-1968

À L’Infnitif (The White Box), 1967 Screenprint on vinyl mounted to Plexiglas (as issued) with 79 facsimile notes, contained in seven black paper folders, incise siged, dated ‘1966’ and numbered 101/150 on the Plexiglas, also signed, in black ink on the title page, published by Cordier & Ekstrom, New York, the facsimiles contained in the original linen-covered portfolio with printed title on the front.

33 x 28.5 x 4 cm (12 7/8 x 11 1/4 x 1 5/8 in.)

Estimate £10,000-15,000 $14,400-21,600 €12,600-19,000 ‡ ♠

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Literature Arturo Schwarz 637

In 1964, Duchamp recovered a group of 79 unpublished notes (dating from 1914-23) concerning the Large Glass that had been excluded from his original selection of notes for the Green Box, 1934. As most of the notes were written in the infnitive, he titled this publication A l’Infnitif.

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22. Louise Bourgeois

1911-2010

Fugue, 2003-05 The complete set of 19 screenprints in colours, on Stonehenge cream paper, the full sheets, all signed with initials on the front, annotated #1 through #19 consecutively and numbered 9/9 on the reverse in pencil, further signed and numbered on the colophon in pencil (there was also one artist’s proof), published by Procuniar Workshop, New York, contained in the original pale blue fabric-covered portfolio.

33 x 45 x 3.2 cm (12 7/8 x 17 3/4 x 1 1/4 in.)

Estimate £40,000-60,000 $57,700-86,500 €50,600-75,900 ‡ ♠ Provenance David Procuniar, New York Other portfolios from this edition are held in permanent collections at the Museum of Modern Art, New York, and the Kunstmuseum Bern, Switzerland

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Property from a Private European Collection

23. Cy Twombly

1928-2011

Roman Notes V, from Roman Notes, 1970 Ofset lithograph in colours, on heavy ofset paper, the full sheet, signed, dated ‘70’ and numbered 50/100 in pencil on the reverse (there were also 10 artist’s proofs), published by Neuendorf Verlag, Hamburg, framed.

S. 86.6 x 69.6 cm (34 1/8 x 27 3/8 in.)

Estimate £20,000-30,000 $28,800-43,300 €25,300-37,900 Literature Heiner Bastian 25

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24. Lee Ufan

b. 1936

To the Ruins, 1986 The complete portfolio of seven drypoints, on Arches Infnity paper, with full margins, with title page, all signed, dated '86' and numbered 40/50 in pencil (there were also 10 artist's proofs), published by Shirota Gallery, Tokyo, the sheets loose (as issued) contained in individual paper folders inside the original teal linen-covered portfolio. all I. 49 x 39 cm (19 1/4 x 153/8 in.) all S. 65 x 54 cm (25 5/8 x 211/4 in.)

Estimate £10,000-15,000 $14,400-21,600 €12,600-19,000 ‡ Literature Yuichiro Asakura 71

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25. Lee Ufan

b. 1936

Untitled, from Dialogue, 2007 Carborundum print in orange, on Moulin de Larroque paper, with full margins, signed, dated '07' and numbered 3/10 in pencil (there was also one hors commerce impression), published by Les Ateliers Moret, Paris, framed.

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

P. 91 x 70.5 cm ( 357/8 x 273/4 in.)

S. 120 x 100 cm (47 1/4 x 39 3/8 in.)

Estimate £7,000-10,000 $10,100-14,400 €8,900-12,600 ‡

26. 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, signed and dated ‘81’ in blue ink on the grey nitro lacquer and numbered 39/75 in black ink on the yellow label afxed to the reverse, published by Isa Genzken and Gerhard Richter, Düsseldorf, unframed, contained in a black card record sleeve.

17.5 cm (6 7/8 in.) diameter Estimate £6,000-8,000 $8,700-11,500 €7,600-10,100 ♠ Literature Hubertus Butin 57

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27. Gerhard Richter

b. 1932

Kerze I (Candle I), 1988 Ofset lithograph in colours, on ofset paper, the full sheet, signed in black pastel chalk, from the edition of 250, published by Verein zur Förderung moderner Kunst e.V. (at the Mönchehaus-Museum für moderne Kunst), Goslar, unframed.

S. 89.2 x 94.4 cm (35 1/8 x 37 1/8 in.)

Estimate £15,000-20,000 $21,600-28,800 €19,000-25,300 ♠ Literature Hubertus Butin 64

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28. Sigmar Polke

1941-2010

Freundinnen I (Girlfriends I), 1967 Ofset lithograph, on heavy wove paper, with margins, signed, dated ‘67’ and numbered 39/150 in pencil, published by Galerie h (August Haseke), Hannover, framed.

I. 46 x 58.6 cm (18 1/8 x 23 1/8 in.)

S. 47.7 x 59.9 cm (18 3/4 x 23 5/8 in.)

Estimate £10,000-15,000 $14,400-21,600 €12,600-19,000 ♠ Provenance Jörg Maaß Kunsthandel, Berlin Literature Jürgen Becker and Claus von der Osten 3

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29. Roy Lichtenstein

1923-1997

Shipboard Girl, 1965 Ofset lithograph in colours, on wove paper, with full margins, signed in pencil, the edition size unknown, published by Leo Castelli Gallery, New York, framed.

I. 66 x 48.7 cm (25 7/8 x 19 1/8 in.)

S. 68.7 x 51.5 cm (27 x 20 1/4 in.)

30. Roy Lichtenstein

1923-1997

Estimate £20,000-30,000 $28,800-43,300 €25,300-37,900

Mao, 1971 Lithograph in colours, on Arches paper, with wide margins, signed, dated ‘71’ and numbered 2/150 in pencil (there were also an unknown number of artist’s proofs in Roman numerals), with the artist’s copyright blindstamp, co-published by Richard Kasak and Citadel Press, New York, unframed.

I. 58 x 42.6 cm (22 7/8 x 16 3/4 in.)

S. 66.5 x 50.5 cm (26 1/8 x 19 7/8 in.)

Literature Mary Lee Corlett II.6

Estimate £10,000-15,000 $14,400-21,600 €12,600-19,000 Literature Mary Lee Corlett 104

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31. Roy Lichtenstein

1923-1997

Moonscape, from 11 Pop Artists, Volume I, 1965 Screenprint in colours, on blue Rowlux, the full sheet, signed, dated ‘65’ and numbered 97/200 in pencil on the reverse (there were also 50 artist’s proofs in Roman numerals), published by Original Editions, New York, framed.

S. 50.5 x 61.6 cm (19 7/8 x 24 1/4 in.)

Estimate £10,000-15,000 $14,400-21,600 €12,600-19,000 Literature Mary Lee Corlett 37

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32. Roy Lichtenstein

1923-1997

Untitled Head, 1995 Screenprint in colours, on Lanaquarelle watercolour paper, with full margins, signed, dated ‘95’ and numbered 26/75 in pencil (there were also 14 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

I. 33.5 x 40.5 cm (13 1/4 x 15 7/8 in.)

S. 47.5 x 54.5 cm (18 3/4 x 21 1/2 in.)

Estimate £10,000-15,000 $14,400-21,600 €12,600-19,000 Literature Gemini G.E.L. 1641 Mary Lee Corlett 292

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33. Roy Lichtenstein

1923-1997

34. Andy Warhol

1928-1987

Still Life with Pitcher and Flowers, 1974 Lithograph and screenprint in colours, on BFK Rives paper, with full margins, signed, dated ‘74’ and numbered 3/100 in pencil (there were also 10 artist’s proofs), with the artist’s copyright inkstamp on the reverse, published by Multiples Inc. and Castelli Graphics, New York, framed.

I. 77 x 115.2 cm (30 3/8 x 45 3/8 in.)

S. 93.8 x 131.6 cm (36 7/8 x 51 3/4 in.)

New England Clam Chowder, from Campbell’s Soup II, 1969 Screenprint in colours, on wove paper, with full margins, signed in black ball-point pen and stamp-numbered 221/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, unframed.

I. 81.3 x 48.3 cm (32 x 19 in.)

S. 88.7 x 58.4 cm (34 7/8 x 22 7/8 in.)

Estimate £8,000-10,000 $11,500-14,400 €10,100-12,600

Estimate £10,000-15,000 $14,400-21,600 €12,600-19,000

Literature Mary Lee Corlett 130

Literature Frayda Feldman and Jörg Schellmann 57

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Property from a Private European Collection

35. Andy Warhol

1928-1987

Marilyn, 1967 Screenprint in colours, on wove paper, the full sheet, signed in pencil and stamp-numbered 151/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed.

S. 91.2 x 91.1 cm (35 7/8 x 35 7/8 in.)

Estimate £40,000-60,000 $57,700-86,500 €50,600-75,900 Literature Frayda Feldman and Jörg Schellmann 28

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Property from a Private European Collection

36. Andy Warhol

1928-1987

Red Lenin, 1987 Screenprint in colours, on Arches 88 paper, the full sheet, signed by Frederick W. Hughes (Executor of the Estate of Andy Warhol) and numbered 118/120 in pencil on a stamped Certifcate of Authenticity on the reverse (there were also 24 artist’s proofs), published by Andy Warhol, New York, unframed.

S. 100 x 70.5 cm (39 3/8 x 27 3/4 in.)

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Estimate £30,000-50,000 $43,300-72,100 €37,900-63,200 Literature Frayda Feldman and Jörg Schellmann 403 Provenance Acquired directly from the artist's studio, 1987

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37. Andy Warhol

1928-1987

Jacqueline Kennedy I (Jackie I), from 11 Pop Artists, Volume I, 1966 Screenprint in silver, on wove paper, with full margins, stamp-signed and numbered 190/200 in pencil on the reverse (there were also 50 artist’s proofs in Roman numerals), published by Original Editions, New York, framed.

I. 52.5 x 43.2 cm (20 5/8 x 17 in.)

S. 60.8 x 50.5 cm (23 7/8 x 19 7/8 in.)

Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900 Literature Frayda Feldman and Jörg Schellmann 13

38. Andy Warhol

1928-1987

Details of Renaissance Paintings (Paolo Ucello, St. George & the Dragon, 1460), 1984 Screenprint in colours, on Arches Aquarelle (Cold Pressed) paper, with full margins, signed and numbered 38/50 in pencil (there were also 12 artist’s proofs), published by Editions Schellmann & Klüser, Munich and New York (with their and the artist’s copyright inkstamp on the reverse), framed.

I. 65 x 94.5 cm (25 5/8 x 37 1/4 in.)

S. 81 x 111.5 cm (31 7/8 x 43 7/8 in.)

Estimate £8,000-12,000 $11,500-17,300 €10,100-15,200 Literature Frayda Feldman and Jörg Schellmann 325

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39. Andy Warhol

1928-1987

Mobil, from Ads, 1985 Screenprint in colours, on Lenox Museum Board, the full sheet, signed and numbered 6/190 in pencil (there were also 30 artist’s proofs), published by Ronald Feldman Fine Arts, Inc., New York (with their and the artist’s copyright inkstamp on the reverse), framed.

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

Estimate £15,000-20,000 $21,600-28,800 €19,000-25,300 Literature Frayda Feldman and Jörg Schellmann 350

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40. Andy Warhol

1928-1987

Apple, from Ads, 1985 Unique screenprint in colours, on Lenox Museum Board, the full sheet, signed and annotated ‘TP 11/30’ in pencil (one of 30 unique trial proofs, aside from the edition of 190 and 30 artist’s proofs), published

by Ronald Feldman Fine Arts, Inc., New York (with their and Apple Computer Inc.’s copyright inkstamps on the reverse), framed.

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

Estimate £50,000-70,000 $72,100-101,000 €63,200-88,500 Literature Frayda Feldman and Jörg Schellmann 359

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41. Andy Warhol

1928-1987

Queen Elizabeth II of the United Kingdom, from Reigning Queens, 1985 Screenprint in colours, on Lenox Museum Board, the full sheet, signed and numbered 3/40 in pencil (there were also 10 artist’s proofs), with the artist’s copyright inkstamp on the reverse, published by George C. P. Mulder, Amsterdam, the Netherlands, framed.

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

Estimate £30,000-50,000 $43,300-72,100 €37,900-63,200 Literature Frayda Feldman and Jörg Schellmann 334

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42. Andy Warhol

1928-1987

Queen Margrethe II of Denmark, from Reigning Queens, 1985 Screenprint in colours, on Lenox Museum Board, the full sheet, signed and annotated ‘R AP 1/5’ in pencil (a printer’s proof, the edition was 40 and 10 artist’s proofs), with the artist’s copyright inkstamp on the reverse, published by George C. P. Mulder, Amsterdam, the Netherlands, framed.

S. 99.8 x 79.6 cm (39 1/4 x 31 3/8 in.)

Estimate £12,000-18,000 $17,300-26,000 €15,200-22,800 ‡ Literature Frayda Feldman and Jörg Schellmann II.345

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43. Andy Warhol

1928-1987

Mick Jagger, 1975 Screenprint in colours, on Arches Aquarelle (Rough) paper, the full sheet, signed and numbered 14/250 in pencil by the artist, signed in red felt pen by Mick Jagger (there were also 50 artist’s proofs), published by Seabird Editions (with their copyright inkstamp on the reverse), London, framed.

S. 111 x 73.5 cm (43¾ x 28 7/8 in.)

Estimate £25,000-35,000 $36,100-50,500 €31,600-44,300 ‡ Literature Frayda Feldman and Jörg Schellmann 147

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44. Andy Warhol

1928-1987

The Shadow, from Myths, 1981 Screenprint in colours, on Lenox Museum Board, the full sheet, signed and numbered 41/200 in pencil (there were also 30 artist’s proofs), published

by Ronald Feldman Fine Arts, Inc., New York, framed.

S. 96.3 x 96.2 cm (377/8 x 377/8 in.)

Estimate £20,000-30,000 $28,800-43,300 €25,300-37,900 ‡ Literature Frayda Feldman and Jörg Schellmann 267

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45. Andy Warhol

1928-1987

Shadows V, 1979 The set of two unique screenprints in colours with diamond dust, on Arches 88 paper, the full sheets, both signed, titled, and annotated ‘P.P 1/1’ in pencil on the reverse (the pair of printer’s proofs, the edition was 10 unique colour variants), published by Andy Warhol, New York (with the artist’s copyright inkstamp on the reverse), both framed. both S. 109.4 x 77.2 cm (43 1/8 x 30 3/8 in.)

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Estimate £60,000-80,000 $86,500-115,000 €75,900-101,000 ‡ Literature Frayda Feldman and Jörg Schellmann 224-225

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Property from a Private European Collection

46. Andy Warhol

1928-1987

The Scream (afer Munch), 1984 Unique screenprint in colours, on Lenox Museum Board, the full sheet, from a small, unnumbered edition of unique colour variants, with the Estate of Andy Warhol inkstamp and with the number ‘UP34.28’ and the initials ‘VF’ in pencil on the reverse, printed by Rupert Jasen Smith, New York, unframed.

S. 101.4 x 81.2 cm (39 7/8 x 31 7/8 in.)

Estimate £150,000-250,000 $216,000-361,000 €190,000-316,000 Literature Frayda Feldman and Jörg Schellmann IIIA.58 Provenance Acquired directly from the artist's studio, 1987

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47. After Jean-Michel Basquiat 1960-1988 Head, 1983/2001 Screenprint in colours, on wove paper, the full sheet, numbered 62/85 in pencil (there were also 15 artist’s proofs), signed and dated ‘11-19-01’ by Gerard Basquiat (Administrator of the Estate of Jean-Michel Basquiat) in pencil with the Estate stamp on the reverse, published by De Sanctis Carr Fine Art, Los Angeles, framed.

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

Estimate £20,000-30,000 $28,800-43,300 €25,300-37,900

48. After Jean-Michel Basquiat 1960-1988 Ernok, 1983/2001 Screenprint in colours, on wove paper, the full sheet, numbered 62/85 in pencil (there were also 15 artist’s proofs), signed and dated ‘11-19-01’

by Gerard Basquiat (Administrator of the Estate of Jean-Michel Basquiat) in pencil with the Estate stamp on the reverse, published by De Sanctis Carr Fine Art, Los Angeles, framed.

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

Estimate £20,000-30,000 $28,800-43,300 €25,300-37,900

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49. After Jean-Michel Basquiat 1960-1988 Rinso, 1983/2001 Screenprint in colours, on wove paper, the full sheet, numbered 62/85 in pencil (there were also 15 artist’s proofs), signed and dated ‘11-19-01’ by Gerard Basquiat (Administrator of the Estate of Jean-Michel Basquiat) in pencil with the Estate stamp on the reverse, published by De Sanctis Carr Fine Art, Los Angeles, framed.

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

Estimate £15,000-20,000 $21,600-28,800 €19,000-25,300

50. After Jean-Michel Basquiat 1960-1988 Per Capita, 1983/2001 Screenprint in colours, on wove paper, the full sheet, numbered 62/85 in pencil (there were also 15 artist’s proofs), signed and dated ‘11-19-01’

by Gerard Basquiat (Administrator of the Estate of Jean-Michel Basquiat) in pencil with the Estate stamp on the reverse, published by De Sanctis Carr Fine Art, Los Angeles, framed.

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

Estimate £15,000-20,000 $21,600-28,800 €19,000-25,300

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Etching.

A dialogue of risk between wax and acid, mediated by the hand of the artist. The copper plate is covered by a ground (either hard or sof wax) before the image can be created. Hard wax is incised directly with a needle that courses through the ground to expose the copper below. Sof wax is covered with a sheet of paper that the artist draws onto – once removed, the depressions in the ground retain a subtle paper grain.

The plate is then dipped in a bath of acid: the corrosive biting into the exposed copper. Sharp, wiry lines are created from the precision of the hard-ground - with the sof-ground revealing crayon-like, lyrical marks.

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51. Jake and Dinos Chapman

b. 1966/1962

Disasters of War, 1999 The complete portfolio of 83 etchings, on Somerset paper, with full margins, with title page and colophon, from the frst edition, all sheets signed on the reverse and numbered 10/15 on the colophon in pencil (there were also 5 artists’ proofs), published by The Paragon Press, London, the sheets loose (as issued) contained in the original brown fabric-covered portfolio.

54 x 37 x 5 cm (21 1/4 x 14 5/8 x 1 7/8 in.)

Estimate £20,000-30,000 $28,800-43,300 €25,300-37,900 ♠ † Literature The Paragon Press 1995-2000 pp. 194-217 Please refer to the online catalogue for a complete listing.

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52. Jake and Dinos Chapman

b. 1966/1962

Exquisite Corpse, 2000 The complete set of 20 etchings, on Somerset paper, with full margins, all signed and numbered 17/20 in pencil on the reverse (there were also 6 artists’ proofs), published by The Paragon Press, London, all framed. all I. 22.5 x 17.5 cm (8 7/8 x 6 7/8 in.) all S. 46 x 37.5 cm (18 1/8 x 14 3/4 in.)

Estimate £8,000-10,000 $11,500-14,400 €10,100-12,600 ♠ Literature The Paragon Press 1995-2000 pp. 260-269 Please refer to the online catalogue for a complete listing.

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53. Damien Hirst

b. 1965

The Last Supper, 1999 The complete series of 13 screenprints in colours, on Somerset paper, with full margins, all signed in pencil, from the edition of 150 (there were also 25 artist’s proofs), published by The Paragon Press, London, all unframed. all I. various sizes all S. 153 x 101.5 cm (60 1/4 x 39 7/8 in.) two horizontal Estimate £25,000-35,000 $36,100-50,500 €31,600-44,300 ♠ Literature The Paragon Press 1995-2000 pp. 230-243 This lot has been authenticated by the Hirst Authentication Committee

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54. Damien Hirst

b. 1965

Flumequine, 2007 Aquatint in colours, on Hahnemühle etching paper, with full margins, signed on the front and numbered 8/75 in pencil on the reverse (there were also 20 artist’s proofs), published by The Paragon Press, London, framed.

I. 114 x 84.5 cm (44 7/8 x 33 1/4 in.)

S. 140.2 x 108 cm (55 1/4 x 42 1/2 in.)

Estimate £10,000-15,000 $14,400-21,600 €12,600-19,000 ♠ Literature The Paragon Press 2006-2010 pp. 160-161 This lot has been authenticated by the Hirst Authentication Committee

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55. Damien Hirst

b. 1965

Mickey, 2014 Screenprint in colours with glaze, on wove paper, with full margins, signed and numbered 144/250 in pencil (there were also 10 artist’s proofs), published by Other Criteria Ltd., London (with their blindstamp), framed.

I. 84.1 x 49 cm (33 1/8 x 19 1/4 in.)

S. 87.5 x 70 cm (34 1/2 x 27 1/2 in.)

Estimate £15,000-20,000 $21,600-28,800 €19,000-25,300 ♠ This lot has been authenticated by the Hirst Authentication Committee

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56. Damien Hirst

b. 1965

57. Damien Hirst

b. 1965

Mickey (Blue Glitter), 2016 Screenprint in colours with glitter, on wove paper, the full sheet, signed and numbered 68/150 in pencil on the reverse (there were also 10 artist’s proofs), published by Other Criteria Ltd., London, framed.

S. 87.5 x 70 cm (34 1/2 x 27 1/2 in.)

Minnie (Pink Glitter), 2016 Screenprint in colours with glitter, on wove paper, the full sheet, signed and numbered 68/150 in pencil on the reverse (there were also 10 artist’s proofs), published by Other Criteria, London Ltd., framed.

S. 87.5 x 70 cm (34 1/2 x 27 1/2 in.)

Estimate £8,000-12,000 $11,500-17,300 €10,100-15,200 ♠

Estimate £8,000-12,000 $11,500-17,300 €10,100-15,200 ♠

This lot has been authenticated by the Hirst Authentication Committee

This lot has been authenticated by the Hirst Authentication Committee

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58. Damien Hirst

b. 1965

Beautiful Mickey, 2015 Screenprint in colours, on wove paper, with full margins, signed and numbered 8/50 in pencil (there were also 5 artist’s proofs), published by Other Criteria Ltd., London (with their blindstamp), framed.

I. 123.8 (48 3/4 in.) diameter S. 135.9 x 135.6 cm (53 1/2 x 53 3/8 in.)

Estimate £15,000-20,000 $21,600-28,800 €19,000-25,300 ♠ This lot has been authenticated by the Hirst Authentication Committee

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59. Damien Hirst

b. 1965

3-Methylthymidine, 2014 Screenprint in colours with diamond dust, on Somerset paper, the full sheet, signed and numbered 61/100 in pencil on the reverse, published by Paul Stolper, London, framed.

S. 83.6 x 68.5 cm (32 7/8 x 26 7/8 in.)

Estimate £8,000-12,000 $11,500-17,300 €10,100-15,200 ♠ This lot has been authenticated by the Hirst Authentication Committee

60. Damien Hirst

b. 1965

Methylamine-13c, 2014 Screenprint in colours with diamond dust, on Somerset paper, the full sheet, signed and numbered 61/100 in pencil on the reverse, published by Paul Stolper, London, framed.

S. 83.6 x 68.4 cm (32 7/8 x 26 7/8 in.)

Estimate £8,000-12,000 $11,500-17,300 €10,100-15,200 ♠ This lot has been authenticated by the Hirst Authentication Committee

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61. KAWS

b. 1974

Ups and Downs, 2013 The complete set of 10 screenprints in colours, on Saunders Waterford High White paper, the full sheets, all signed, dated ‘13’ and numbered 62/100 in pencil (there were also 20 artist’s proofs), published by the artist, the sheets loose (as issued) contained in the original black fabric-covered portfolio.

92 x 62 x 3 cm (36 1/4 x 24 3/8 x 1 1/8 in.)

Estimate £15,000-25,000 $21,600-36,100 €19,000-31,600 ‡ Exhibited Nerman Museum of Contemporary Art, Overland Park, Kansas, UPS AND DOWNS, 25 October 2013 9 February 2014 (another example exhibited)

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62. Robert Longo

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b. 1953

63. Robert Longo

b. 1953

Tiger, 2011 Archival pigment print, on Epson Hot-Pressed paper, with full margins, signed, dated ‘2011’ and numbered 18/30 in pencil (there were also 3 artist’s proofs), published by Handicap International, France, unframed.

I. 106.6 x 77.5 cm (41 7/8 x 30 1/2 in.)

S. 114.8 x 84.7 cm (45 1/4 x 33 3/8 in.)

Hell’s Gate, 2005 Archival pigment print, on Epson Hot-Pressed paper, with full margins, signed, dated ‘2005’ and numbered 24/30 in pencil (there were also 5 artist’s proofs), published by Adamson Editions, Washington D.C., framed.

I. 97 x 101.5 cm (38 1/4 x 39 7/8 in.)

S. 105.8 x 110.5 cm (41 5/8 x 43 1/2 in.)

Estimate £10,000-15,000 $14,400-21,600 €12,600-19,000

Estimate £6,000-8,000 $8,700-11,500 €7,600-10,100 ‡

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64. Julian Opie

b. 1958

This is Shahnoza 1-5, 2006 The complete series of fve screenprints, on Somerset Satin paper, with full margins, all signed and numbered 25/40 in pencil (there were also 11 artist’s proofs), published by Alan Cristea Gallery, London, all framed. all I. approx. 51 x 118 cm (20 1/8 x 46 1/2 in.) all S. 56.8 x 135.5 cm (22 3/8 x 53 3/8 in.)

Estimate £25,000-35,000 $36,100-50,500 €31,600-44,300 ♠ Literature Alan Cristea 58-62

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65. Tony Crag

b. 1949

Grenze weg, 2015 Cast steel with rust patina, with accompanying grey plinth, with incised signature lower lef, further signed in black ink and numbered 26/35 (printed) on the accompanying Certifcate of Authenticity (there were also 6 artist’s proofs), published by BILD newspaper for the 25th anniversary of the reunifcation of Germany.

39 x 55 x 28 cm (15 3/8 x 21 5/8 x 11 in.)

Estimate £30,000-50,000 $43,300-72,100 €37,900-63,200 ♠ †

Created to celebrate the 25th anniversary of the reunifcation of Germany, Tony Cragg’s Grenze weg is a monumental homage to the Brandenburg Gate. This triumphal arch stood sentry over the Berlin wall throughout the Cold War – an irony in architecture whilst citizens were not allowed to move freely through the gate. The repeated vertical forms of Grenze weg echo the row of neo-classical columns marching along the Brandenburg façade, whilst simultaneously alluding to human fgures twisted and soldered together, unable to break free from oppression.

Yet Grenze weg also ofers a fragment of hope in the shard-like opening at the centre of the sculpture allowing light to pass through. The monolithic, rusticated surface of this work, that initially appears impenetrable, slowly reveals its cracks as the viewer circles it – encouraging us to fnd a path through. Cragg’s homage celebrates not only the strength of the German people under constraint, but also the welcome restoration of free passage and the return to purpose for the triumphal arch.

Berliners from East and West celebrating the opening of the border standing on the Berlin Wall, Brandenburg Gate, Berlin, 9th November 1989 (b/w photo) / Berlin, Germany / © H.P. Stiebing / Bridgeman Images

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66. 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, impressed signature on the suede interior lining of the lower part, from the edition of 650 (there were also 40 artist’s proofs), contained in the original custom fight case.

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

Estimate £20,000-30,000 $28,800-43,300 €25,300-37,900

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67. Tauba Auerbach

b. 1981

Static 14, 2009 Chromogenic print, on photo paper fush-mounted to aluminium (as issued), the full sheet, numbered 3/3 (printed) on a gallery label on the reverse of the frame (there was also 1 artist’s proof), with the accompanying Certifcate of Authenticity, framed.

S. 152.7 x 106.6 cm (60 1/8 x 41 7/8 in.)

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Estimate £10,000-15,000 $14,400-21,600 €12,600-19,000 Provenance Paula Cooper Gallery, New York Exhibited New York, Deitch Projects, Tauba Auerbach: Here and Now/And Nowhere, 3 Sept - 17 Oct 2009 (another example exhibited)

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68. Christopher Wool

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b. 1955

69. Christopher Wool

b. 1955

Black Book, 1989 Hardcover book, with 17 text images, on smooth wove paper, the full sheets, bound (as issued), signed and numbered 172/350 in black ink on the fnal page (there were also 8 artist’s proofs), published by Gisela Capitain, Cologne and Thea Westreich, New York.

58.4 x 40.6 cm (23 x 16 in.)

My House I, 2000 Screenprint in colours, on Matt Custom Art paper, with full margins, signed, dated ‘2000’ and numbered 42/100 in pencil (there were also 20 artist’s proofs), published by Counter Editions, London, framed.

I. 99 x 73.5 cm (38 7/8 x 28 7/8 in.)

S. 101.4 x 75.8 cm (39 7/8 x 29 7/8 in.)

Estimate £15,000-20,000 $21,600-28,800 €19,000-25,300

Estimate £10,000-15,000 $14,400-21,600 €12,600-19,000

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197. Harland Miller

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Day Editions Lot 70 – 245, 2pm

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70. Pablo Picasso

1881-1973

Tête de jeune flle (Head of a Young Girl), 1945 Lithograph, on Arches paper, with full margins, (deckle on two sides), the fourth (fnal) state, signed and numbered 28/50 in pencil (there were also 18 artist’s proofs), framed.

I. 26.5 x 21 cm (10 3/8 x 8 1/4 in.)

S. 43.9 x 30.6 cm (17 1/4 x 12 in.)

Estimate £6,000-8,000 $8,700-11,500 €7,600-10,100 ♠ Literature Fernand Mourlot 5 Georges Bloch 383 Felix Reuβe 45

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71. Pablo Picasso

1881-1973

Peintre debout et modèle (Painter Standing and Model), 1964 Etching and aquatint with drypoint and scraper, on Richard de Bas paper, with full margins, the second state (of 2), signed and numbered 41/50 in pencil (there were also 15 artist’s proofs), published by Galerie Louise Leiris, Paris, unframed.

I. 32 x 46.7 cm (12 5/8 x 18 3/8 in.)

S. 46 x61 cm (18 1/8 x 24 in.)

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 ‡ ♠ Literature Georges Bloch 1158 Brigitte Baer 1146/II/Bb

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72. Pablo Picasso

1881-1973

Le Peintre et son modèle (The Painter and his Model), 1962 Lithograph, on Japon nacré paper, with full margins, an unnumbered impression (aside from the edition of 10 on Japon nacré paper, there was also an edition of 150 on Arches paper), printed to accompany the text of Pierre Mac Orlan for the book Regards sur Paris, unframed.

I. 39 x 56 cm (15 3/8 x 22 in.)

S. 43 x 62.8 cm (16 7/8 x 24 3/4 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 ♠ Literature Fernand Mourlot 355

73. Edvard Munch

1863-1944

The Garden at Night, from Linde portfolio, 1902 Etching and aquatint with drypoint in brown ink, on Van Gelder Zonen laid paper, with full margins (deckle on all sides), signed by the artist and the printer in pencil, from the unnumbered edition of 13, printed in 1906 by Otto Felsing, Berlin, framed.

I. 44.3 x 60.5 cm (17 1/2 x 23 7/8 in.)

S. 59 x 79.5 cm (23 1/4 x 31 1/4 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ‡ Literature Gustav Schiefer 189 Sigurd Willoch 96 Gerd Woll 221

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74. Edvard Munch

1863-1944

Jealousy IV, 1930 Lithograph, on heavy Japan paper, with full margins, signed in pencil, with the Munch Museet inkstamp annotated '543-23' in black ink on the reverse, the edition size unknown, printed by Hagen, Kristiania, framed.

I. 22.3 x 22 cm (8 3/4 x 8 5/8 in.)

S. 49.8 x 32.4 cm (19 5/8 x 12 3/4 in.)

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Estimate £6,000-8,000 $8,700-11,500 €7,600-10,100 ‡ Provenance The artistʼs studio Munch Museet, Oslo Literature Gerd Woll 710

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75. Otto Dix

1891-1969

Frauenkopf (Woman’s Head), 1949 Lithograph in colours, on wove paper, with full margins, signed, titled, dated ‘49’ and numbered 7/10 in pencil (aside from the edition of 22), with the Akademie der Bildenden Künste Dresden Akademiedruck blindstamp, framed.

I. 38.5 x 27 cm (15 1/8 x 10 5/8 in.)

S. 50 x 37.5 cm (19 5/8 x 14 3/4 in.)

76. After René Magritte

1898-1967

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ♠

La leçon de musique (The Music Lesson), 1968 Etching and aquatint in colours, on Japon nacré paper, with full margins (deckle on two sides), with printed signature and annotated ‘XXIII/XXV’ in pencil (one of 25 hors commerce impressions, the edition was 150 and a small number of artist’s proofs), published by Editions Georges Visat, Paris, with the Gravure Originale Atelier René Magritte blindstamp, framed.

I. 15 x 10 cm (5 7/8 x 3 7/8 in.)

S. 27.5 x 22 cm (10 7/8 x 8 5/8 in.)

Literature Florian Karsch 169

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ♠ Literature Gilbert E. Kaplan and Timothy Baum 15

77. Léonard-Tsuguharu Foujita 1886-1968 Petite flle à l’oiseau (Little Girl with Bird), 1929 Etching and aquatint in colours with drypoint, Chine-collé to heavy Japan paper, with full margins, signed and numbered 77/100 in pencil, published by Apollo Editions Artistiques, Paris, framed.

I. 33.7 x 25.7 cm (13 1/4 x 10 1/8 in.)

S. 49.5 x 39.2 cm (19 1/2 x 15 3/8 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 ♠ Literature Sylvie Buisson II.29.155

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78. Rufno Tamayo

1899-1991

79. Rufno Tamayo

1899-1991

Cabeza en Amarillo (Head in Yellow), 1976 Etching and aquatint in colours with carborundum, on Guarro paper, the full sheet, signed and numbered 22/75 in crayon (there were also 10 artist’s proofs in Roman numerals), published

by Ediciones Polígrafa, Barcelona, framed.

S. 73.5 x 56.3 cm (28 7/8 x 22 1/8 in.)

Personaje Blanco (White Person), 1976 Etching and aquatint in colours with carborundum, on Guarro paper, the full sheet, signed and numbered 13/75 in crayon (there were also 10 artist’s proofs in Roman numerals), published

by Ediciones Polígrafa, Barcelona, framed.

S. 75.4 x 56.3 cm (29 5/8 x 22 1/8 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 ‡

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 ‡

Literature Juan Carlos Pereda 195

Literature Juan Carlos Pereda 193

80. Henry Moore

1898-1986

Reclining Figure; Group in Industrial Landscape; Reclining Woman; and Three Seated Figures in Setting, 1974; and 1975 Four lithographs in colours, on Arches paper, with full margins, all signed and numbered 1/75 in pencil (there were also 10 artist’s proofs in Roman numerals for each), published by Ediciones Polígrafa, Barcelona, all unframed. all I. various sizes all S. 50 x 40 cm (19 5/8 x 15 3/4 in.) two horizontal Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ♠ Literature Gérald Cramer 387, 418-419 and 421 Please refer to the online catalogue for a complete listing.

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81. Salvador Dalí

1904-1989

Le Téléphone, for Hommage à Leonardo da Vinci (American Inventions), (The Telephone, for Homage to Leonardo da Vinci (American Inventions)), 1975 Drypoint with extensive hand-colouring in gouache, on BFK Rives paper, with full margins, signed and inscribed ‘Bon a tirer’ in pencil (the ‘good to print’ impression, aside from 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 upper image and lef margin, and evidence of erased pencil annotations in the lower image, printed by Atelier Rigals, Paris, inscribed ‘Epreuve rehaussée à la main par S. Dali pour essais couleurs en BAT Epreuve faisant partie de notre collection’ by Denise Rigal in pencil on the reverse, unframed.

I. 50.5 x 36.2 cm (19 7/8 x 14 1/4 in.)

S. 75.1 x 56.3 cm (29 5/8 x 22 1/8 in.)

Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900 ♠ Provenance Ateliers Rigal, Paris Private Collection, France Literature see Ralf Michler and Lutz W. Löpsinger 813 This work is registered in the Archives Descharnes under number D-5612 (a certifcate has been issued and is available for purchase from the Archives Descharnes)

82. Salvador Dalí

1904-1989

La Machine à coudre, for Hommage à Leonardo da Vinci (American Inventions) (The Sewing-Machine, for Homage to Leonardo da Vinci (American Inventions)), 1975 Drypoint with extensive hand-colouring in gouache, on BFK Rives paper, with full margins, signed and inscribed ‘Bon a 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 the lower margin, 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 36.2 cm (19 7/8 x 14 1/4 in.)

S. 75.4 x 56.5 cm (29 5/8 x 22 1/4 in.)

Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900 ♠ Provenance Ateliers Rigal, Paris Private Collection, France Literature see Ralf Michler and Lutz W. Löpsinger 811 This work is registered in the Archives Descharnes under number D-5612 (a certifcate has been issued and is available for purchase from the Archives Descharnes)

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83. Salvador Dalí

1904-1989

Vénus; and Venus de las constellaciones con picador (Venus; and Venus of the Constellations with Bullfghter), 1974; and 1975 Two etchings with drypoint, on Richard de Bas paper, with full margins, both signed and inscribed ‘H.C.’ in pencil (two hors commerce impressions, the editions were 75 and 25 artist’s proofs), published by Ateliers Rigal, Paris, both unframed. both I. various sizes, both S. 78.5 x 58.2 cm (30 7/8 x 22 7/8 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ♠ Provenance Ediciones PolÍgrafa, Barcelona Literature Ralph Michler and Lutz W. Löpsinger 677 and 790

84. Salvador Dalí

1904-1989

Les Petits chevaux, from Poèmes de Mao Tse-Tung (The Little Horses, from Poems by Mao Zedong), 1967 Heliogravure reworked in drypoint, on Chinois ancien paper, with full margins, signed, dated ‘1967’ and inscribed ‘Hommage de Messonier’ in black ink with extensive additional ink drawings and embossed signature, one of four unnumbered impressions with additional ink drawings aside from the edition of 229, published by Argilet, Paris, framed.

I. 24 x 19 cm (9 1/2 x 7 1/2 in.)

S. 38.5 x 28.5 cm (15 1/8 x 11 1/4 in.)

Estimate £7,000-9,000 $10,100-13,000 €8,900-11,400 ♠ Literature Ralf Michler and Lutz W. Löpsinger 209

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85. Christo and Jeanne-Claude b. 1935 and 1935-2009 Wrapped Snoopy House, Project for Charles M. Schulz Museum, 2004 Lithograph in colours with collage of broadcloth, thread and masking tape, on BFK Rives rag paper mounted to board (as issued), the full sheet, with accompanying print of a 1978 Peanuts comic strip depicting Snoopy’s doghouse wrapped by Christo, signed and numbered 232/250 in pencil (there were also 50 artists’ proofs), published by Landfall Press, Santa Fe, New Mexico (with their and the artist’s copyright inkstamps on the reverse), unframed.

S. 62.3 x 54.3 cm (24 1/2 x 21 3/8 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ♠ Literature Jörg Schellmann 188

86. Christo and Jeanne-Claude b. 1935 and 1935-2009 Wrapped Telephone, Project, from 12 years of Galeria Joan Prats, 1976-1988, 1988 Lithograph with collage of transparent polyethylene, twine, and staples, with hand-colouring in grease pencil and paint, on Guarro paper mounted to board (as issued), the full sheet, signed and numbered 24/100 in black ink (there were also 25 artists’ proofs in Roman numerals), published by Galeria Joan Prats, Barcelona, unframed.

S. 55.8 x 37.5 cm (21 7/8 x 14 3/4 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ♠ Literature Jörg Schellmann 137

87. Christo and Jeanne-Claude b. 1935 and 1935-2009 Wrapped Tree, Project, 1979 Lithograph in colours with collage of transparent polyethylene, fabric, twine, thread and staples, on Rag paper mounted to board (as issued), the full sheet, signed and inscribed ‘HC’ in pencil (an hors commerce impression, the edition was 99 and 15 artists’ proofs), published by Ediciones Polígrafa, Barcelona, unframed.

S. 56 x 71 cm (22 x 27 7/8 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ♠ Literature Jörg Schellmann 101

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88. Christo and Jeanne-Claude b. 1935 and 1935-2009 Wrapped Automobile, Project for Volvo 122 S Sport Sedan, 1984 Lithograph in black and red with collage of fabric and twine, on BFK Rives paper mounted to board (as issued), the full sheet, signed, dated ‘84’ and numbered 17/100 in pencil (there were also 20 artists’ proofs and 20 impressions in Roman numerals), published by Christo and Edition Schellmann, Munich and New York, framed.

56.5 x 70.5 cm (22 1/4 x 27 3/4 in.)

Estimate £2,500-3,500 $3,600-5,000 €3,200-4,400 ♠ Literature Jörg Schellmann 113

89. Christo and Jeanne-Claude b. 1935 and 1935-2009 Wrapped Vespa, Project, 1963-64, 2009 Paper collage and digital pigment print in colours with hand-colouring in crayon, on Rag paper, the full sheet, signed and numbered 77/200 in pencil (there were also 45 artists’ proofs), published

by Miyanomori Art Museum, Sapporo, Japan, framed.

S. 30.5 x 30.5 cm (12 x 12 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ‡ ♠ Literature Jörg Schellmann 201

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90. Jean Dubufet

1901-1985

Parade nuptiale (Courtship), 1973 Screenprint in colours, on tan Canson paper, with full margins, signed with initials, dated ‘73’ and numbered 3/85 in pencil (there were also 15 proofs annotated ‘A-O’ and 13 hors commerce impressions in Roman numerals), unframed.

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

S. 39.2 x 33.4 cm (15 3/8 x 13 1/8 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ♠ Literature Sophie Webel 1099

91. Eduardo Chillida

1924-2002

Homage to Sir Roland Penrose, 1981 Etching and aquatint, Chine-collé to BFK Rives paper, with full margins, signed and numbered 26/99 in pencil (there were also 15 artist’s proofs and 25 hors commerce impressions in Roman numerals), published by Ediciones Polígrafa, Barcelona, framed.

I. 19 x 25 cm (7 1/2 x 9 7/8 in.)

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

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 ♠ Literature Martin van der Koelen 81013

92. Pierre Soulages

b. 1919

Olympische Spiele München (Olympinc Games Munich), 1972 Lithograph in colours, on Arches paper, the full sheet, signed and numbered 192/200 in pencil, published by the Olympic Committee, Munich, unframed.

S. 104 x 69.5 cm (40 7/8 x 27 3/8 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ♠ Literature Yves Rivière 31

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93. Antoni Tàpies

1923-2012

Berlin Suite, 1974 The complete portfolio of 10 lithographs in colours, on Arches paper, the full sheets, all signed and numbered 47/150 in pencil, further numbered in black ink on the title page (there were also 15 artist’s proofs), published by Propyläen Verlag, Berlin, the sheets loose (as issued) contained in the original beige fabriccovered portfolio.

79 x 60 x 2 cm (31 1/8 x 23 5/8 x 3/4 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ♠ Literature Mariuccia Galfetti 476-485 Please refer to the online catalogue for a complete listing.

94. A.R. Penck

b. 1939

Berlin Suite, 1990 The complete portfolio of 10 aquatints in colours, on wove paper, with full margins, with title page and justifcation, all signed and numbered 1/60 in pencil, published by Edition Achenbach, Düsseldorf, the sheets loose (as issued), contained in the original red fabric-covered portfolio with embossed title.

79 x 109.5 x 2.5 cm (31 1/8 x 43 1/8 x 7/8 in.)

Estimate £2,500-3,500 $3,600-5,000 €3,200-4,400 ♠ Please refer to the online catalogue for a complete listing.

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95. Peter Sedgley

b. 1930

Video Disques, 1969-70 The complete portfolio of six kinetic screenprints, in fuorescent colours, on spun aluminium, each disc incise signed, titled, dated ‘1970’ and numbered 9/100 with an electric engraving tool on the reverse (there were also 10 proposed artist’s proofs, only half the edition is thought to have been produced), published by Editions Alecto, London, all contained in the original black wooden box with titles on the top, lacking the motor and ultra-violet light unit. each disc 75 cm (29 1/2 in.) diameter crate 80 x 84 x 23.5 cm (31 1/2 x 33 1/8 x 9 1/4 in.)

Estimate £2,500-3,500 $3,600-5,000 €3,200-4,400 ♠ Including: BOY; BYB; YWO; YOK; YOB; and RON

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96. Nicolas Schöfer

1912-1992

Luxus XII, 1969 Chrome-plated brass and steel, from the proposed edition of 75 (fewer than 10 were produced), published Éditions Denise René, Paris.

38.5 x 50 x 52 cm (15 1/8 x 19 5/8 x 20 1/2 in.)

Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600 ♠

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97. Nicolas Schöfer

1912-1992

Minisculpture I, 1969 Kinetic object, with mirror-polished stainless steel on painted stainless steel base, with electronic motor, from the edition of unknown size, published by Éditions Denise René, Paris.

19.5 x 20 x 21 cm (7 5/8 x 7 7/8 x 8 1/4 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ♠

98. Richard Mortensen

1910-1993

Saint Mars, c. 1965 Aubusson tapestry in colours, numbered ‘1173’ on a fabric certifcate sewn to the underside, from an edition thought to be no larger than 8, woven by the Tabard workshop, published by Éditions Denise René, Paris.

290 x 200 cm (114 1/8 x 78 3/4 in.)

Estimate £2,000-3,000 $4,300-7,200 €3,800-6,300 ♠

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99. Richard Mortensen

1910–1993

100. Geneviève Claisse

b. 1935

Evisa, c. 1968 Aubusson tapestry in colours, numbered ‘1642’ on a fabric certifcate sewn to the underside, from an edition thought to be no larger than 8, woven by the Tabard workshop, published by Éditions Denise René, Paris.

226 x 158 cm (88 7/8 x 62 1/4 in.)

Rotacteur vert (Green Rotator), 1971 Wooden box painted in colours with relief elements in white and black, signed in blue ink and numbered 38/50 (printed) on a label afxed to the reverse, published by Éditions Denise René, Paris.

40 x 40 x 5 cm (15 3/4 x 15 3/4 x 1 7/8 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ♠

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ♠

101. Carlos Cruz-Diez

b. 1923

Céramique no. 5, 2008 Ceramic with enamel in colours, annotated ‘EA III/IV’ in black ink, stamp-dated ‘2008’ and further stamped ‘05’, all on the reverse, fabricated by La Tuilerie de Treigny, Burgundy, France, (with their blindstamp on the reverse).

48.2 x 48.2 x 3.8 cm (18 7/8 x 18 7/8 x 1 1/2 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ♠

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102. Victor Vasarely

1906-1997

Eridan, 1970 Wooden panel with relief elements in black, white and grey, signed in black ink and numbered 2/55 (printed) on a label afxed to the reverse, published by Éditions du Grifon, Neuchâtel, Switzerland, contained in the original cardboard box with stamped title.

37.5 x 37.5 x 2.5 cm (14 3/4 x 14 3/4 x 0 7/8 in.)

Estimate £1,200-1,500 $1,700-2,200 €1,500-1,900 ♠

103. Yvaral (Jean-Pierre Vasarely) 1934-2002 Optivision, c. 1969 Monochrome lenticular panels laid to black Plexiglas cube, believed to be from an edition of 100, published by Éditions Denise René, Paris.

20.5 x 20.5 x 20.5 cm (8 1/8 x 8 1/8 x 8 1/8 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ♠

104. Yvaral (Jean-Pierre Vasarely) 1934-2002 Plan espace (Space Plan), 1967 Kinetic relief sculpture, with screenprint in white on a black metal panel, with elasticated string and metal support, an unsigned proof aside from the editon of 100, published by Éditions Denise René, Paris, contained in the original wooden crate.

62 x 62 x 28 cm (24 3/8 x 24 3/8 x 11 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 ♠

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105. Howard Hodgkin

b. 1932

Mourning, 1982 Lithograph in colours using tusche washes, with hand-colouring in gouache and watercolour, on Velin Arches mould-made paper, the full sheet, signed with initials, dated ‘82’ and numbered 34/50 in pencil (there were also 15 artist’s proofs), published

by Bernard Jacobson, Ltd., London, unframed.

S. 91.4 x 152.4 cm (35 7/8 x 60 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ‡ ♠ Literature Liesbeth Heenk 68

106. Howard Hodgkin

b. 1932

A Storm, 1977 Lithograph in colours, with hand-colouring in gouache, on Lexington hand-made paper, the full sheet, signed, dated ‘77’ and numbered 19/100 in pencil (there were also 14 artist’s proofs), published by Petersburg Press, London, framed.

S. 52 x 61.5 cm (20 1/2 x 24 1/4 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ‡ ♠ Literature Liesbeth Heenk 36

107. Howard Hodgkin

b. 1932

Bleeding, 1981-82 Lithograph in colours using tusche washes, with hand-colouring in gouache, on Velin Arches mould-made paper, the full sheet, signed with initials, dated ‘81’ and numbered 88/100 in pencil (there were also 33 artist’s proofs), published by Bernard Jacobson Ltd., London, unframed.

S. 91.4 x 151.8 cm (35 7/8 x 59 3/4 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ‡ ♠ Literature Liesbeth Heenk 67

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This lot is sold with no reserve

108. Howard Hodgkin

b. 1932

Artist and Model, 1980 Sof-ground etching in sepia with handcolouring in watercolour and gouache, on Stoneridge mould-made etching paper, the full sheet, signed with initials, dated ‘1980’ and numbered 88/100 in red pencil (there were also 20 artist’s proofs), published by Petersburg Press, London, unframed.

S. 81.3 x 102.9 cm (32 x 40 1/2 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 • ‡ ♠ Literature Liesbeth Heenck 60

109. Howard Hodgkin

b. 1932

One Down; One Down; and One Down, 1981-82 Three duplicate lithographs in colours with hand-colouring in gouache, on Velin Arches mould-made paper, the full sheets, all signed with initials, dated ‘81’, two numbered 85/100 and 87/100 and one annotated ‘19’ and ‘AP’ respectively in pencil (one of 19 artist’s proofs, the edition was 100), published by Bernard Jacobson Ltd., London, all unframed. all S. 91.5 x 122 cm (36 x 48 in.)

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 ‡ ♠ Literature Liesbeth Heenk 65 Please refer to the online catalogue for a complete listing.

110. Howard Hodgkin

b. 1932

In the Museum of Modern Art, 1979 The complete set of four sof-ground etchings, three on BFK Rives mould-made paper and one on Hodgkinson hand-made paper, the full sheets, all signed, dated ‘79’, three inscribed ‘AP’ and one numbered 25/100 in red crayon (the editions were 100 and 20 artist’s proofs), published by Petersburg Press, New York, all unframed. all S. approx. 76.2 x 101.6 cm (30 x 40 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ‡ ♠ Literature Liesbeth Heenk 50-53 Including: Late Afernoon in the Museum of Modern Art; Early Evening in the Museum of Modern Art; Thinking Aloud in the Museum of Modern Art; and All Alone in the Museum of Modern Art Please refer to the online catalogue for a complete listing.

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111. 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 143/150 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 $11,500-17,300 €10,100-15,200 ‡ ♠ Provenance Fondation Beyeler Acquired directly from the above by the present owner

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112. 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 143/150 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 $11,500-17,300 €10,100-15,200 ‡ ♠ Provenance Fondation Beyeler Acquired directly from the above by the present owner

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113. Joe Tilson

b. 1928

New York Decals 3 and 4; and Untitled (New York - Rockefeller Center), 1967 The set of two screenprints in colours, on wove paper, with wax-paper collage, the full sheets, together with a preliminary study for Decal 3 in pencil and Indian ink, on wove paper, the full sheet, New York Decals 3 and 4 signed and inscribed 'AP' in pencil on a label afxed to the mount (an artist's proof, the edition was 70), Untitled (New York - Rockefeller Center) signed and dated '1967' in pencil, both framed. decals both S. 74 x 40.4 cm (29 1/8 x 15 7/8 in.) study I. 62.3 x 46 cm (24 1/2 x 18 1/8 in.); S. 76.4 x 55.8 cm (30 1/8 x 21 7/8 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ♠

114. David Hockney

b. 1937

Red Flowers and Green Leaves, Separate, May, 1988 Hand-made print in colours executed on an ofce copier, on two sheets of Arches paper, the full sheets, signed, dated ‘88’ and numbered 52/70 in pencil (there were also 16 artist’s proofs), with the artist’s blindstamp, published by the Metropolitan Museum of Art, New York, unframed. overall S. 35.4 x 43 cm (13 7/8 x 16 7/8 in.)

Estimate £3,000-4,000 $4,300-5,800 €3,800-5,100 ‡ ♠

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115. Richard Hamilton

1922-2011

The Beatles, 2007 Inkjet digital print in colours, on Somerset Enhanced Radiant White Velvet paper, with full margins, signed and numbered 46/80 in pencil (there were also 8 artist’s proofs), published by Alan Cristea Gallery, London, framed.

I. 86.3 x 57.1 cm (33 7/8 x 22 1/2 in.)

S. 105.3 x 75.8 cm (41 1/2 x 29 7/8 in.)

UK_EDIITONS_JUN16_76-121_R2.indd 101

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 ‡ ♠ Literature Alan Cristea Gallery, Word and Image: Prints 1963-2007, exh. cat., London, 14th February - 22nd March 2014, p.155

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116. Mimmo Rotella

1918-2006

Marilyn bellezza eterna (Marilyn Eternal Beauty), 1982 Screenprint in colours, with collage, on linen stretched onto a wooden stretcher (as issued), signed and annotated ‘HC 4/20’ in white ink (an hors commerce impression, the edition was 100), unframed.

125 x 91 cm (49 1/4 x 35 7/8 in.)

Estimate £2,500-3,500 $3,600-5,000 €3,200-4,400 ♠

117. Peter Blake

b. 1932

Piccadilly Circus - The Convention of Comic Book Characters, from London Suite, 2012 Screenprint in colours, on Somerset paper, with full margins, signed and numbered 93/100 in pencil (there were also 10 artist’s proofs), published by Paul Stolper, London, unframed.

I. 49.5 x 49.8 cm (19 1/2 x 19 5/8 in.)

S. 66.5 x 65 cm (26 1/8 x 25 5/8 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ♠

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118. Peter Blake

b. 1932

Fag Packets (Capstan, Star, Ardath and Gold Flake), 2006 The complete set of four screenprints in colours, on wove paper, with full margins, all signed and numbered 24/95 in pencil, all framed. all I. approx. 72 x 42 cm (28 3/8 x 16 1/2 in.) all S. 88.5 x 48.5 cm (34 7/8 x 19 1/8 in.)

Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600 ♠

119. Peter Blake

b. 1932

The Paris Suite: three plates, 2010 Three screenprints in colours, from the suite of 20, on Somerset paper, with full margins, all signed and numbered 59/100, 52/100 and 54/100 respectively in pencil (there were also 10 artist’s proofs), published by Paul Stolper, London, all unframed. all I. 37.8 x 21.8 cm (14 7/8 x 8 5/8 in.) all S. 54.4 x 37 cm (21 3/8 x 14 5/8 in.)

Estimate £1,200-1,500 $1,700-2,200 €1,500-1,900 ♠ Including: Circus II; Chicken Act; and 10 Man Up

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Lithography.

Reliant upon the immiscibility of oil and water.

The design is drawn in grease (crayon or tusche), directly onto porous limestone. Gum Arabic covers the image to chemically etch it to the stone, which will have to be sanded down in order to erase this design.

A quick clean using turpentine before the stone surface is dampened with water. Nonimage (blank) areas retain moisture and repel the lithographic ink. The ink clings to the grease-treated areas holding the image which is transferred to the paper under pressure.

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120. James Rosenquist

b. 1933

Where the Water Goes, from Welcome to the Water Planet, 1989 Monumental pressed paper pulp in colours with lithography collage, on handmade TGL paper, the full sheet, signed, titled, dated ‘1989’ and numbered 12/32 in pencil (there were also 10 artist’s proofs), published by Tyler Graphics Ltd., Mount Kisco, New York (with their blindstamp), framed.

S. 261 x 147.3 cm (102 3/4 x 57 7/8 in.)

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 Literature Constance Glenn 215

121. James Rosenquist

b. 1933

Earth and Moon, 1971 Lithograph in colours, on Arches Cover paper, with full margins, signed, titled, dated ‘1971’ and numbered 46/70 (there were also 30 in Roman numerals reserved for the University of South Florida and 3 artist’s proofs), published

by Graphicstudio/University of South Florida, Tampa (with their blindstamp and inkstamp on the reverse), unframed.

I. 42 x 39.5 cm (16 1/2 x 15 1/2 in.)

S. 47.5 x 44.5 cm (18 3/4 x 17 1/2 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 Literature Constance Glenn 43

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122. James Rosenquist

b. 1933

Zone, 1972 Lithograph, on Hodgkinson hand-made Wookey Hole paper, with full margins, signed, titled, dated ‘1972’ and numbered 51/66 in pencil (there were also 9 artist’s proofs), published by Petersburg Press, London, unframed.

I. 71 x 72 cm (27 7/8 x 28 3/8 in.)

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

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 Literature Constance Glenn 53

123. Tom Wesselmann

1931-2004

Monica Lying on Her Back, Knees Up, 1990 Lithograph and linocut in colours, on Arches paper, the full sheet, signed and numbered 68/100 in pencil (there were also 6 artist’s proofs), published by Aimee DeLittle for Memoire de la Liberté, Paris, unframed.

S. 100 x 140.4 cm (39 3/8 x 55 1/4 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500

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124. Robert Longo

b. 1953

James, from Men in the Cities, 1999 Lithograph, on Arches paper, with full margins, signed, dated ‘99’ and annotated ‘wp 2’ in pencil (a working proof aside from the edition of 50), published by Hamilton-Selway Fine Art, West Hollywood, CA, framed.

I. 130 x 75 cm (51 1/8 x 29 1/2 in.)

S. 178 x 102 cm (70 1/8 x 40 1/8 in.)

Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600

125. Robert Longo

b. 1953

Sandy, from Men in the Cities, 1999 Lithograph, on Arches paper, with full margins, signed, dated ‘99’ and annotated ‘wp 2’ in pencil (a working proof aside from the edition of 50), published by Hamilton-Selway Fine Art, West Hollywood, CA, framed.

I. 144 x 87 cm (56 3/4 x 34 1/4 in.)

S. 178 x 101.7 cm (70 1/8 x 40 in.)

Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600

126. Robert Longo

b. 1953

Untitled (Ivy Mike), 2010 Archival pigment print, on Epson Hot-Pressed paper, with full margins, signed, dated ‘2010’ and numbered 13/15 in pencil (there were also 5 artist’s proofs), published by Adamson Editions, Washington D.C., framed.

I. 103 x 76 cm (40 1/2 x 29 7/8 in.)

S. 113 x 86 cm (44 1/2 x 33 7/8 in.)

Estimate £7,000-9,000 $10,100-13,000 €8,900-11,400

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127. Roy Lichtenstein

1923-1997

Water Lilies, 1990 Six porcelain plates glazed in colours, all with printed signature and numbered 2228/3000, 1993/3000, 2730/3000, 1763/3000, 1940/3000 and 1850/3000 respectively on the undersides, published by Rosenthal, Hamburg, with the accompanying Certifcates of Authenticity, all contained in the original individual boxes. all 31 cm (12 1/4 in.) diameter Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 Please refer to the online catalogue for a complete listing.

128. Roy Lichtenstein

1923-1997

Inaugural Print, from Inaugural Impressions, 1977 Screenprint in colours, on Arches paper, with full margins, signed, dated ‘77’ and numbered 26/100 in pencil (there were also 20 artist’s proofs), published by the Democratic National Committee, for the Inauguration of President Jimmy Carter, framed.

I. 40.5 x 66 cm (15 7/8 x 25 7/8 in.)

S. 50.8 x 76.2 cm (20 x 30 in.)

Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600 † Literature Mary Lee Corlett 151

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129. Jim Dine

b. 1935

Vegetables, 1970 The complete set of eight lithographs with collage in colours, on Hodgkinson hand-made paper, the full sheets, with title page and colophon, all signed and inscribed ‘A/P’ in pencil (one of 12 artist’s proof sets, the edition was 96), published by Petersburg Press, New York, the sheets loose (as issued) contained in the original paper-covered portfolio.

47.7 x 43 x 2 cm (18 3/4 x 16 7/8 x 0 3/4 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 ‡ Literature Gallery Mikro 66 A-F

This lot is sold with no reserve

130. Jim Dine

b. 1935

Sledgehammer and Axe; and Sledgehammer and Axe, 1971 Two duplicate ofset lithographs, on Hodgkinson mould-made paper, with full margins, both signed, dated ‘1971’ and numbered 9/80 and 79/80 respectively in pencil (there were also 12 artist’s proofs), both with the artist’s copyright blindstamp, published

by Petersburg Press, London, both unframed. both I. 83.5 x 50 cm (32 7/8 x 19 5/8 in.) both S. 141.6 x 98.4 cm (55 3/4 x 38 3/4 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ‡ • Literature Williams College 46 Please refer to the online catalogue for a complete listing.

131. Ed Ruscha

b. 1937

Group of artist’s books (11); and Picturing Ed: Jerry McMillan’s Photographs of Ed Ruscha, 1958-1972 (1), 1963-1972; and 2004 A group of 12 books, comprised of 11 artist’s books

by Ed Ruscha, and one exhibition catalogue of photographs of the artist by Jerry McMillan, all unsigned and unnumbered from either the frst or second editions of varying sizes, all artist’s books published by Ed Ruscha, Picturing Ed published by Smart Art Press, Santa Monica, California. all approximately 18 x 14 x .5 cm (7 1/8 x 5 1/2 x 0 1/4 in.)

Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600 Literature Siri Engberg B1-B5, B8, B10, B12-B13, and B15-B16

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132. Robert Indiana

b. 1928

Book of Love: one plate, 1996 Screenprint in colours, on A.N.W. Crestwood Museum Edition paper, with full margins, signed, dated ‘96’ and annotated ‘PP 5/10’ in pencil (a printer’s proof, the edition was 200 and 50 artist’s proofs), published by American Image Editions, New York, unframed.

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

S. 60.7 x 50.4 cm (23 7/8 x 19 7/8 in.)

Estimate £2,500-3,500 $3,600-5,000 €3,200-4,400

133. Robert Indiana

b. 1928

Heliotherapy Love, 1995 Screenprint in colours, on heavy wove, with full margins, signed, dated ‘95’ and numbered 181/300 in pencil, published by Donald J. Christal, Los Angeles, CA (with their and the artist’s inkstamps on the reverse), framed.

I. 93.7 x 94 cm (36 7/8 x 37 in.)

S. 101.2 x 101.5 cm (39 7/8 x 39 7/8 in.)

Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900

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134. Donald Judd

1928-1994

Untitled: one plate, 1978 Etching, with full margins, signed, dated ‘78’ and numbered 35/75 in pencil (there were also 10 artist’s proofs), published by the artist, unframed.

I. 56 x 68 cm (22 x 26 3/4 in.)

S. 76 x 88.8 cm (29 7/8 x 34 7/8 in.)

Estimate £1,000-1,200 $1,400-1,700 €1,300-1,500 Literature Jörg Schellmann 103

135. Donald Judd

1928-1994

Untitled: one plate, 1978 Etching, with full margins, signed, dated ‘78’ and numbered 35/75 in pencil (there were also 10 artist’s proofs), published by the artist, unframed.

I. 56 x 68 cm (22 x 26 3/4 in.)

S. 76.2 x 88.4 cm (30 x 34 3/4 in.)

Estimate £1,000-1,200 $1,400-1,700 €1,300-1,500 Literature Jörg Schellmann 113

136. Frank Stella

b. 1936

Les Indes Galantes I, 1973 Ofset lithograph in colours, on J. Green mould-made paper, with full margins, signed, dated ‘73’ and numbered 54/100 in pencil (there were also 20 artist’s proofs), published

by Petersburg Press, Ltd., London, unframed.

I. 20.3 x 20.3 cm (7 7/8 x 7 7/8 in.)

S. 40.6 x 55.9 cm (15 7/8 x 22 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ‡ Literature Richard Axsom and Leah Kolb 86

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137. Frank Stella

b. 1936

Polar Co-ordinates VII, from Polar Co-ordinates for Ronnie Peterson, 1980 Lithograph, screenprint and letterpress in colours, on Arches Cover paper, the full sheet, signed, dated ‘80’ and numbered 46/100 in pencil (there were also 20 artist’s proofs), published by Petersburg Press, New York, framed.

S. 96 x 97.5 cm (37 3/4 x 38 3/8 in.)

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 ‡ Literature Richard Axsom and Leah Kolb 125

138. Ellsworth Kelly

1923-2015

Red Curve, 2006 Lithograph in red, on BFK Rives paper, the full sheet, signed and numbered 47/100 in pencil (there were also 20 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed.

S. 30.5 x 17.1 cm (12 x 6 3/4 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 Literature Gemini G.E.L. 2060 Richard Axsom 328

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139. Kenneth Noland

1924-2010

Untitled, 1985 Monotype with hand-colouring and embossing, on heavy wove paper, the full sheet, signed and dated ‘5 May 1985’ in pencil on the reverse, with the artist’s blindstamp, published by Ediciones Polígrafa, Barcelona, unframed.

S. 42.3 x 53.7 cm (16 5/8 x 21 1/8 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500

140. Kenneth Noland

1924-2010

Untitled, 1983 Monotype with hand-colouring and embossing, on heavy wove paper, the full sheet, signed and dated ‘1983’ in pencil on the reverse, with the artist’s blindstamp, published

by Ediciones Polígrafa, Barcelona, framed.

S. 72 x 102.2 cm (28 3/8 x 40 1/4 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800

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141. Bridget Riley

b. 1931

Rose Rose, from London 2012, 2011 Screenprint in colours, on Fabriano paper, with full margins, signed, titled, dated ‘11’ and numbered 144/250 in pencil (there were also 20 artist’s proofs), published by Counter Editions, London, framed.

I. 70 x 54.2 cm (27 1/2 x 21 3/8 in.)

S. 86.7 x 69.5 cm (34 1/8 x 27 3/8 in.)

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 ♠ Literature Karsten Schubert 79

142. Bridget Riley

b. 1931

Untitled (Nineteen Greys B), 1968 Screenprint in colours on card, the full sheet, signed, titled, dated ‘78’ and numbered 20/75 in pencil (there were also 6 artist’s proofs), framed.

S. 75.8 x 76 cm (29 7/8 x 29 7/8 in.)

Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600 ♠ Literature Karsten Schubert 8b Arts Council 1980, no.8

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143. Imi Knoebel

b. 1940

An Meine Grüne Seite, 2009 Acrylic on aluminium and plastic in pink and green respectively, with metal hanging unit, signed, dated ‘2009’ and numbered 10/25 in black and white marker pens on the reverse of the aluminium sheet, published by Deutsche Guggenheim, Berlin, contained in the original cardboard box. installed 25.5 x 18 x 4 cm (10 x 7 1/8 x 1 5/8 in.)

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 ♠

144. Imi Knoebel

b. 1940

Rot, Gelb, Weiß, Blau: four plates, 1995 Four screenprints in red, yellow and white, on wove paper, with full margins, all signed with initials, dated ‘95’ and numbered 34/40 in pencil, published by Edition Domberger, Stuttgart, all unframed (lacking the Blau plates). all I. 101.8 x 101.8 cm (40 1/8 x 40 1/8 in.) all S. 125.5 x 125.5 cm (49 3/8 x 49 3/8 in.)

Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600 ♠

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This lot is sold with no reserve

145. Joseph Beuys

1921-1986

Mirror Piece, from Mirrors of the Mind, 1975 Lacquered fask, with mirror-fnished interior, containing iodine crystals, with accompanying card How to explain the iodine bottle to the Hares, and cylindrical cardboard container, signed, titled and numbered 74/100 in pencil on artist’s labels on the underside of the bottle (there were also 30 artist’s proofs in Roman numerals), co-published

by Multiples Inc., and Castelli Graphics, New York. bottle 19.5 cm (7 5/8 in.) print 15.7 x 11.5 cm (6 1/8 x 4 1/2 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 •♠ Literature Jörg Schellmann 164

146. Joseph Beuys

1921-1986

Untitled, from Homage à Picasso, 1973 Lithograph in colours, on Rag paper, the full sheet, signed and numbered 81/90 in pencil (there were also 30 impressions in Roman numerals reserved for museums, plus 15 artist’s proofs), published by Propyläen Verlag, Berlin and Pantheon Presse, Rome, unframed.

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

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ♠ Literature Jörg Schellmann 84

147. Joseph Beuys and James Lee Byars 1921-1986 and 1932-1997 Frammenti Veneziani (I-IIIIIIIIII), 1980 The complete set of 10 screenprints in grey, fve by Joseph Beuys and fve by James Lee Byars, on black wove paper, the full sheets, fve signed in full by Joseph Beuys and fve signed with initials by James Lee Byars, all numbered 30/50 in pencil on the reverse (there were also 10 in Roman numerals), published by Edizioni Factotum-Art, Verona, the sheets loose (as issued), contained in the original black painted wooden portfolio with printed title. all S. 34.8 x 50 cm (13 3/4 x 19 5/8 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ♠ Literature Jörg Schellmann 339-343 (Joseph Beuys)

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148. Martin Kippenberger

1953-1997

I.N.P., 1984 Screenprint in colours, on painted canvas over wooden stretcher (as issued), signed and dated ‘84’ in black ink on the reverse, from the unnumbered edition of 7, framed.

100 x 120 cm (39 3/8 x 47 1/4 in.)

Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600 ♠

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149. Martin Kippenberger

1953-1997

Untitled, 1991 Screenprint in colours, on Japan paper-lined cardboard packing case with collage of four hand-shaped mirrors to the interior of the case, perforations and further screenprint in blue to the exterior, signed, dated ‘91’ and inscribed ‘P.P’ in black ink on the exterior side (a printer’s proof, the edition was 12 and 3 artist’s proofs), published by AC & T Corporation, Tokyo.

46 x 46 x 35 cm (18 1/8 x 18 1/8 x 13 3/4 in.)

150. Jannis Kounellis

Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600 ‡ ♠ Literature Gisela Capitain and Karola Grasslin 66

b. 1936

Modèle 1-5, 1999 The complete set of fve lithographs, on Magnani paper, with full margins, all signed and numbered 2/40 in pencil, published by Ediciones Polígrafa, Barcelona, all unframed. all I. various sizes all S. 64 x 76 cm (25 1/4 x 29 7/8 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ♠

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151. Günther Förg

1952-2013

Architektur II, 1993 The complete set of fve gelatin silver prints, on Orwo Baryt paper, the full sheets, all signed, dated ‘93’ and numbered 18/60 in pencil, all unframed. all S. 96 x 69 cm (37 3/4 x 27 1/8 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ♠ Günther Förg Archive number WVF.93.F.01416

152. 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 ‘90’ and annotated ‘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 $2,900-4,300 €2,500-3,800 ♠ Günther Förg Archive number WVF.90.GR.0679

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153. Günther Förg

1952-2013

Untitled (four works), 1994; and 2001 Four lithographs in colours, on BFK Rives paper, with full margins, all signed, dated ‘01’ or ‘94’ and numbered 43/80, 21/80, 61/75 and 44/75 respectively in pencil, printed by Hostrup-Pedersen & Johansen, Denmark, all unframed. all I. approx. 63 x 47 cm (24 3/4 x 18 1/2 in.) all S. approx. 64.7 x 49.3 cm (25 1/2 x 19 3/8 in.) two horizontal Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ♠ Günther Förg Archive numbers WVF.94.GR.0288; WVF.01.GR.0399; WVF.01.GR.0398; and WVF.94.GR.0287

154. Günther Förg

1952-2013

Architektur I, 1993 The complete set of fve etching and aquatints in colours, on wove paper, with full margins, all signed, dated ‘93’ and annotated ‘VII/X’ in pencil (one of 7 artist’s proofs, the edition was 60), all unframed.

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ♠ Günther Förg Archive number WVF.93.GR.0165

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This lot is sold with no reserve

155. Robert Gober

b. 1954

Untitled (Fresh Pigs); and Untitled (Whole Pigs), 1993-1994 The set of two photolithographs in colours, on French Dur-O-Tone paper, folded (as issued), with full margins, both signed, dated ‘75’ and numbered 12/75 and 11/75 respectively in pencil in the lower margin (there were also 10 artist’s proofs), published by the artist, both framed.

I. various sizes both S. 56.8 x 30.5 cm (22 3/8 x 12 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 •

156. Georg Baselitz

b. 1938

Suite 45, 1990 The complete portfolio of 21 ofset lithographs, on Fabriano paper, the full sheets, all signed, dated ‘90’ and numbered 29/35 in pencil, published by Edition Achenbach, Düsseldorf, the sheets loose (as issued) contained in the original black fabric-covered portfolio with printed titles.

102.5 x 73 x 2.5 cm (40 3/8 x 28 3/4 x 0 7/8 in.)

Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600 ♠ Please refer to the online catalogue for a complete listing.

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157. Various Artists Stütz Mappe (Support Portfolio), 1995 The complete portfolio of 13 etchings in colours (three in black and one in sepia), on various papers, with full margins, all signed and numbered 26/50 in pencil on the title page (there were also 13 artist’s proofs in Roman numerals), published

by Contemporary Fine Arts, Berlin and Niels Borg Jensen, Copenhagen, all contained in original black linen-covered portfolio.

51.5 x 42 x 1.5 cm (20 1/4 x 16 1/2 x 0 5/8 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ♠ Including: Peter Doig (Night Fishing); Joachim Grommek (Millimeterpapier); Stefan Hirsig (Fahrenkamp’s Raster); Damien Hirst (Beautiful Exotic Stretching Etchy Spinning Void Etching); Olav Christopher Jenssen (Ingredienz); Hubert Kiecol (Schif ohne Aquavit); Walter Kranz (Die Schwestern Veronal); Elke Krystufek (It’s Enough); Sean Landers (Voyeur); John Miller (610 West End); Chris Ofli (---); Daniel Richter (Little Doggy); and Rachel Whiteread (House) Please refer to the online catalogue for a complete listing.

158. Various Artists Graphikmappe MMK, 1994 The complete portfolio of fve prints, comprised of one lithograph, two ofset lithographs, one chromogenic print and one screenprint, all in colours, on various papers, with full margins, all signed, two dated, one inscribed ‘E.A.’, all annotated ‘XX/XXV’ in pencil (one of 25 artist’s proof sets, the edition was 175), published by Achenbach Art Edition, Düsseldorf, for the Museum of Moderne Kunst, Frankfurt am Main, the sheets loose (as issued) contained in the original grey fabric-covered portfolio.

102 x 71 x 1 cm (40 1/8 x 27 7/8 x 0 3/8 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 ♠ Literature Richard Axsom and David Platzker, 252 (Oldenburg) Including: Stephan Balkenhol, Mann mit Papagei; Peter Fischli/David Weiss, Airport; Claes Oldenburg, Museum á la Mode; Thomas Ruf, Sternenhimmel 16H30M/-50°/94; and Rosemarie Trockel, Untitled

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159. Cindy Sherman

b. 1954

Untitled (Madonna), 1975-97 Gelatin silver print, on photo paper, with full margins, signed and dated ‘1975-77’ in pencil on the reverse, the edition size unknown, framed.

I. 17.5 x 12.5 cm (6 7/8 x 4 7/8 in.)

S. 25.4 x 20.3 cm (10 x 7 7/8 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500

160. Cindy Sherman

b. 1954

Untitled (Cosmo Cover Girl), 1990-91 Chromogenic print, on Fujicolor paper, with full margins, signed, dated ‘1990-91’ and numbered 125/125 in black ink on the reverse, framed.

I. 43 x 27.6 cm (16 7/8 x 10 7/8 in.)

S. 50.7 x 40.4 cm (19 7/8 x 15 7/8 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800

161. Cindy Sherman

b. 1954

Untitled (Doctor and Nurse), 1980-92 The pair of two sepia-toned gelatin silver prints, on photo paper, with full margins, both signed and dated ‘198092’ in pencil on the reverse, framed. both I. 23.9 x 19 cm (9 3/8 x 7 1/2 in.) both S. 25.2 x 20.2 cm (9 7/8 x 7 7/8 in.)

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300

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162. Richard Prince

b. 1949

Untitled (Woman with Hat), 1982-1984/2002 Chromogenic print, on photo paper, with full margins, signed in blue ink and numbered 37/50 in black ink on a label afxed to the reverse (there were also 5 artist’s proofs), conceived in 1982-84 and published in 2002

by Texte zur Kunst, Berlin, framed.

I. 63 x 42 cm (24 3/4 x 16 1/2 in.)

S. 70.8 x 50 cm (27 7/8 x 19 5/8 in.)

Estimate £2,500-3,500 $3,600-5,000 €3,200-4,400

163. 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 159/175 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 $4,300-7,200 €3,800-6,300 ♠

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164. George Condo

b. 1957

More Sketches of Spain - For Miles Davis 1-6, 1991 The complete set of six etchings, on Guarro paper, with full margins, all signed and numbered 2/40 in pencil, published by Alexander Kahan, New York, all unframed. all I. 48 x 56.5 cm (18 7/8 x 22 1/4 in.) all S. 69 x 76.8 cm (27 1/8 x 30 1/4 in.)

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300

165. Jenny Saville

b. 1970

Red Stare, 2012 Digital print in colours, on Somerset Photo paper, with full margins, signed, dated ‘2012’ and numbered 20/50 in pencil, this edition was not released to the public and was gifed to the Modern Art Oxford staf by the artist on the occasion of her exhibition Jenny Saville, 23 June - 16 Sept 2012, unframed.

I. 47.2 x 38 cm (18 5/8 x 14 7/8 in.)

S. 59.4 x 42 cm (23 3/8 x 16 1/2 in.)

Estimate £1,200-1,500 $1,700-2,200 €1,500-1,900 ♠

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166. Grayson Perry

b. 1960

Mr and Mrs Perry; and Mr and Mrs Perry, 2005 Two pairs of linocuts, each on individually patterned papers (three with focking), with full margins, all signed in pencil, from the edition of 21 unique variants, published by The Paragon Press, London, all framed. all I. approx. 40.5 x 30.7 cm (15 7/8 x 12 1/8 in.) all S. 47.5 x 37.5 cm (18 3/4 x 14 3/4 in.)

Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600 ♠

167. Grayson Perry

b. 1960

This crude charger was wrought on the 20th January for the serving of an aphrodisiac before the consummation of a godless orgy, 1984 Unique earthenware dish painted in colours with knife engraving, impressed stamping and glaze, with the artist’s stamped initials on the underside.

34 x 25.5 cm (13 3/8 x 10 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 ♠

168. Grayson Perry

b. 1960

Untitled (Mother and Child), c. 1985 Unique earthenware tile painted in brown with knife engraving and glaze, 23.8 x 17.1 cm (9 3/8 x 6 3/4 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 ♠

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169. Tracey Emin

b. 1963

170. Tracey Emin

b. 1963

I Promise to Love You; and My Favourite Little Bird, 2014-15 Two ofset lithographic posters in colours, on silk fnish paper, the full sheets, both with complimentary signatures, one dated ‘2014’ and one annotated ‘X’ in silver ink, from the unnumbered edition of 500, published by Emin International, London, both unframed. both S. 70 x 50 cm (27 1/2 x 19 5/8 in.)

My Heart is With You Always; and Love is What You Want, 2015 Two ofset lithographic posters in colours, on silk fnish paper, the full sheets, both with complimentary signatures, one dated ‘2015’ and one annotated ‘X’ in silver ink, from the unnumbered edition of 500, published by Emin International, London, both unframed. both S. 70 x 50 cm (27 1/2 x 19 5/8 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ♠

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ♠

This lot is sold with no reserve

171. Tracey Emin

b. 1963

My Heart Is With You Always, 2015 Embroidery thread in red and pink, on linen napkin, signed, dated ‘2014’ and inscribed ‘with you in mind’ in black ink on the attached blue paper label, the edition size unknown, published by Emin International, London, unframed.

41 x 42.5 cm (16 1/8 x 16 3/4 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 • ‡ ♠

172. Tracey Emin

b. 1963

Fucked Up, 1998 Unique monotype with pencil annotation, on newsprint paper, the full sheet, signed, titled and dated ‘1998’ in pencil, printed by the artist, framed.

S. 29.5 x 41.8 cm (11 5/8 x 16 1/2 in.)

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 ♠

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173. Damien Hirst

b. 1965

The Dead (Silver Gloss/Topaz Skull), 2009 Foil block print in colours, on Arches 88 paper, with full margins, signed and numbered 8/15 in pencil (there were also 5 artist’s proofs), copublished by Paul Stolper and Other Criteria Ltd., London, framed.

I. 41 x 30 cm (16 1/8 x 11 3/4 in.)

S. 72 x 51 cm (28 3/8 x 20 1/8 in.)

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 ♠ This lot has been authenticated by the Hirst Authentication Committee

174. Damien Hirst

b. 1965

Domine, ne in furore, 2010 Screenprint in colours with diamond dust, on wove paper, with full margins, signed and numbered 11/50 in pencil (there were also 10 artist’s proofs), published by Other Criteria Ltd., London (with their and the artist’s blindstamps), framed.

I. 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 $5,800-8,700 €5,100-7,600 ♠ This lot has been authenticated by the Hirst Authentication Committee

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175. Damien Hirst

b. 1965

Xylene Cyanol Dye Solution, 2005 Aquatint in colours, on Hahnemühle etching paper, with full margins, signed on the front and inscribed ‘AP’ in pencil on the reverse (one of 20 artist’s proofs, the edition was 65), published

by The Paragon Press, London, framed.

I. 58 x 38 cm (22 7/8 x 14 7/8 in.)

S. 96.5 x 73 cm (37 7/8 x 28 3/4 in.)

Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900 ♠ Literature The Paragon Press 2001-2006 pp. 258-259 This lot has been authenticated by the Hirst Authentication Committee

176. Damien Hirst

b. 1965

Nopaline, 2011 Woodcut in colours, on Somerset Textured paper, the full sheet, signed on the front and numbered 7/55 in pencil on the reverse (there were also 10 artist’s proofs), published by The Paragon Press, London, framed.

S. 53.3 x 53.5 cm (20 7/8 x 21 1/8 in.)

Estimate £2,500-3,500 $3,600-5,000 €3,200-4,400 ♠ This lot has been authenticated by the Hirst Authentication Committee

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This lot is sold to beneft The National Autistic Society

177. Damien Hirst

b. 1965

All You Need Is Love, Love, Love, 2008 Screenprint in colours, on wove paper, with full margins, signed, inscribed ‘for Lisa, Thanks for all the help’ and numebred 100/150 in pencil (there were also 10 artist’s proofs), published by Other Criteria Ltd., London, framed.

I. 90 x 87 cm (36 x 36 in.)

S. 114 x 102 cm (44 7/8 x 40 1/8 in.)

Estimate £10,000-15,000 $14,400-21,600 €12,600-19,000 ♠ This lot has been authenticated by the Hirst Authentication Committee

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178. Julian Opie

b. 1958

Winter 68, 2012 Digital print in colours, laminated to glass and mounted to acrylic (as issued), the full sheet, signed in black ink and numbered 3/3 (printed) on a label afxed to the reverse (there was also 1 artist’s proofs), published by Alan Cristea Gallery, London.

68 x 121 cm (26 3/4 x 47 5/8 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 ♠ Literature Alan Cristea 246

179. Julian Opie

b. 1958

Imagine You Are Driving (Fast)/Jacques, 2002 Lambda print in colours, on Fujicolour photographic paper dry-mounted to PVC (as issued), the full sheet, signed and annotated ‘AP 1/11’ in black marker on the reverse (an artist’s proof, the edition was 50), published by Alan Cristea Gallery, London, framed.

S. 55.8 x 120 cm (21 7/8 x 47 1/4 in.)

Estimate £2,500-3,500 $3,600-5,000 €3,200-4,400 ♠ Literature Alan Cristea 33

180. Julian Opie

b. 1958

Imagine You are Driving (Fast)/Rio/Helmet, 2002 Lambda print in colours, on Fujicolour photographic paper dry-mounted to PVC (as issued), the full sheet, signed and numbered 12/50 in black marker on the reverse (there were also 11 artist’s proofs), published by Alan Cristea Gallery, London, framed.

S. 55.8 x 120 cm (21 7/8 x 47 1/4 in.)

Estimate £2,500-3,500 $3,600-5,000 €3,200-4,400 ♠ Literature Alan Cristea 37

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This lot is sold with no reserve

181. Julian Opie

b. 1958

This lot is sold with no reserve

182. Julian Opie

b. 1958

View from My Hotel Room, 2008 LCD animation presented as a continuous computer animation on a 3 minute and 39 second loop, with memory card supplied, programmed and ftted in LCD screen, contained in a custom made, silver powder-coated metal surround, signed in black ink and numbered 61/200 (printed) on a label afxed to the reverse (there were also 20 artist’s proofs), published by Alan Cristea Gallery, London, with various adapters, contained in original foam-lined corrugated cardboard box.

27.5 x 35.3 x 4.5 cm (10 7/8 x 13 7/8 x 1 3/4 in.)

View from my Bedroom Window, 2007 LCD animation presented as a continuous computer animation on a 48 second loop, with memory card supplied, programmed and ftted in LCD screen, contained in a custom made, black powder-coated metal surround, signed in black ink and numbered 249/300 (printed) on a label afxed to the reverse (there were also 15 artist’s proofs), published by Alan Cristea Gallery, London, with adaptor and remote control, contained in the original foam-lined corrugated cardboard box.

24.8 x 31.1 x 4 cm (9 3/4 x 12 1/4 x 1 5/8 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 • ♠

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 • ‡ ♠

Literature Alan Cristea 105

Literature Alan Cristea Gallery 104

183. Julian Opie

b. 1958

View of the Mountains from the Nihon Alps Salada Road, 2009 Lenticular acrylic panel, comprised of an inkjet print in colours, on specialist paper, mounted to twenty line 3D and iMotion lenses, signed in black ink and numbered 22/50 (printed) on a label afxed to the reverse of the frame (there were also 5 artist’s proofs), published by Alan Cristea Gallery, London, contained in a white sprayed aluminium frame specifed by the artist.

90 x 125 x 4 cm (35 3/8 x 49 1/4 x 1 5/8 in.)

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 ♠ Literature Alan Cristea 139

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184. Julian Opie

b. 1958

Luc and Ludivine Get Married (4), 2007 The pair of laser-cut Somerset Velvet black paper silhouettes, dry-mounted onto Clairefontaine Mayo paper (as issued), the full sheets, signed in black marker pen and numbered 7/10 (printed) on a label afxed to the reverse of the lef frame (there was also 1 artist’s proof for the pair), published by Alan Cristea Gallery, London, in original oval black wood frames, glazed with vacuum formed polycarbonate, ftted with a top fxing screw ring as specifed by the artist. each 48.7 x 40 x 7 cm (19 1/8 x 15 3/4 x 2 3/4 in.)

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 ♠ Literature Alan Cristea 110

185. Julian Opie

b. 1958

Twenty Six Portraits, 2006 The complete book of 26 prints in colours, comprised of 16 lithographs bound (as issued), fve Lambda prints and fve screenprints tippedin (as issued), on wove paper, the full sheets, with text by the artist, signed and numbered 49/250 in pencil on the justifcation page (there were also 50 artist’s proofs), published by Alan Cristea Gallery, bound in the original cloth cover, contained in the original navy silk slipcase.

42.7 x 30.4 x 2 cm (16 3/4 x 11 7/8 x 3/4 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ♠ Literature Alan Cristea 95

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186. Julian Opie

b. 1958

This is Shahnoza 4, 2006 Screenprint, on Somerset Satin paper, with full margins, signed and numbered 23/40 in pencil (there were also 11 artist’s proofs), published by Alan Cristea Gallery, London, framed.

I. 50 x 115 cm (19 5/8 x 45 1/4 in.)

S. 56.8 x 135.3 cm (22 3/8 x 53 1/4 in.)

Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900 ♠ Literature Alan Cristea Gallery 61

187. Julian Opie

b. 1958

Ika (2), 2011 Inkjet print in colours, on Epson Premium Semigloss Photo paper dry-mounted to aluminium (as issued), the full sheet, signed in black ink and numbered 15/40 (printed) on a label afxed to the reverse of the frame (there were also 7 artist’s proofs), published by Alan Cristea Gallery, London, contained in the original black tulip wood frame specifed by the artist.

S. 117.5 x 80.5 cm (46 1/4 x 31 3/4 in.) including frame 127.5 x 90.2 x 6.5 cm (501/ 4 x 351/2 x 21/2 in.)

Estimate £3,500-5,000 $5,000-7,200 €4,400-6,300 ♠ Literature Alan Cristea 161

188. Peter Doig

b. 1959

Canoe Island, 2000 Screenprint in colours, on Somerset paper, the full sheet, signed and numbered 136/300 in pencil on the reverse (there were also 30 artist’s proofs), published by Counter Editions, London, framed.

S. 73.1 x 99.7 cm (28 3/4 x 39 1/4 in.)

Estimate £2,500-3,500 $3,600-5,000 €3,200-4,400 ♠

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189. Banksy

b. 1975

Soup Can (Pink/Emerald/Rasberry), 2005 Screenprint in colours, on wove paper, with full margins, signed, dated ‘05’ and numbered 7/10 in pencil, 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 34.7 cm (19 5/8 x 13 5/8 in.)

Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900 ♠

190. Banksy

b. 1975

Soup Can (Lilac/Emerald/Purple), 2005 Screenprint in colours, on wove paper, with full margins, signed, dated ‘05’ and numbered 7/10 in pencil, 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 34.7 cm (19 5/8 x 13 5/8 in.)

Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900 ♠

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191. Banksy

b. 1975

Happy Chopper, 2003 Screenprint in colours, on wove paper, with full margins, numbered 582/750 in pencil, from the unsigned edition published by Pictures on Walls, London, with the accompanying Certifcate of Authenticity issued by Pest Control, framed.

I. 67 x 47 cm (26 3/8 x 18 1/2 in.)

S. 69.6 x 49.6 cm (27 3/8 x 19 1/2 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ♠

192. Banksy

b. 1975

Flying Copper, 2003 Screenprint in colours, on wove paper, the full sheet, numbered 424/600 in pencil, from the unsigned edition published by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued

by Pest Control, framed.

S. 98.7 x 68.9 cm (38 7/8 x 27 1/8 in.)

Estimate £3,000-4,000 $4,300-5,800 €3,800-5,100 ♠

193. Banksy

b. 1975

Gangsta Rat, 2004 Screenprint in colours, on wove paper, with full margins, numbered 239/350 in pencil, from the unsigned edition published by Pictures on Walls, London (with their blindstamp), with the accompanying Certifcate of Authenticity issued

by Pest Control, framed.

I. 36 x 23 cm (14 1/8 x 9 in.)

S. 49.8 x 34.9 cm (19 5/8 x 13 3/4 in.)

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 ♠

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194. Stik Liberty (Silver), 2013-14 Screenprint in silver, on wove paper, with full margins, signed and inscribed ‘AP’ in pencil (an artist’s proof aside from the edition of 12), with the accompanying Certifcate of Authenticity, published by Squarity (with their blindstamp), framed.

I. 106 x 36 cm (41 3/4 x 14 1/8 in.)

S. 112 x 49 cm (44 1/8 x 19 1/4 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ♠

195. Stik Liberty (Orange), 2013 Screenprint in colours, on Somerset paper, with full margins, signed and annotated ‘PP 3/3’ in pencil (a printer’s proof aside from the edition of 25), with the accompanying Certifcate of Authenticity, published

by Squarity, framed.

I. 105.7 x 35.7 cm (41 5/8 x 14 in.)

S. 111.1 x 40.7 cm (43 3/4 x 16 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ♠

196. KAWS

b. 1974

Presenting the Past, 2014 Screenprint in colours, on Sanders Waterford paper, the full sheet, signed, dated ‘14’ and numbered from the edition of 250 in pencil (there were also 50 artist’s proofs), published by the artist, unframed.

S. 81.2 x 81.2 cm (31 7/8 x 31 7/8 in.)

Estimate £2,500-3,500 $3,600-5,000 €3,200-4,400 Exhibited Hong Kong, Harbour City, KAWS: Clean Slate, 18 Sept - 19 Oct 2014 (another impression exhibited)

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197. Harland Miller

b. 1964

Death, What’s in it for Me?, 2011/2014 Screenprint in colours with extensive handcolouring in oil and acrylic, on Somerset paper, the full sheet, signed, dated ‘2014’ and inscribed ‘Hand Finished’ in pencil, from the edition of 10 unique hand-coloured artist’s proofs, framed.

S. 95.7 x 66 cm (37 5/8 x 25 7/8 in.)

Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900 ♠

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198. Darren Almond

b. 1971

Primo, 2007 Cast aluminium painted in maroon, signed, dated ‘2007’ and numbered 2/7 in black ink on the reverse (there were also 2 artist’s proofs).

25.2 x 78.7 x 2 cm (9 7/8 x 30 7/8 x 0 3/4 in.)

Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 ‡ ♠ Provenance Galerie Max Hetzler, Berlin

199. Matthew Day Jackson

b. 1974

Missing Link (Lady Liberty), from The Dymaxion Series, 2007 The complete set of three prints, comprised of one screenprint in colours with collage, on found poster laminated on Coventry Rag paper, and two etchings and aquatints in colours with spit-bite and handpainting on Hahnemühle Copperplate paper, the full sheets, the screenprint signed and dated ‘2007, the etchings signed with initials, all numbered 30/35 and annotated ‘A’ ‘B’ and ‘C’ respectively in pencil on the reverse (there were also 5 artist’s proofs and 5 in Roman numerals), published by Peter Blum Edition, New York, all framed. screenprint 91 x 55.5 cm (35 7/8 x 21 7/8 in.) etchings 90 x 59.6 cm (35 3/8 x 23 1/2 in.) (one horizontal) Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300

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200. Rashid Johnson

b. 1977

Crosshair Brand, 2011 Painted steel and red oak with charring, signed in black ink on the underside and numbered 8/20 (printed) on the accompanying Certifcate of Authenticity (there were also 3 artist’s proofs), published by SculptureCenter, New York. brand 51 x 29 x 29 cm (20 1/8 x 11 3/8 x 11 3/8 in.) base 39.5 x 65 x 5.5 cm (15 1/2 x 25 5/8 x 2 1/8 in.)

Estimate £6,000-8,000 $8,700-11,500 €7,600-10,100

This lot is sold with no reserve

201. Maurizio Cattelan

b. 1960

The 1:6 Scale Wrong Gallery, 2005 Wood, brass, steel, aluminium, resin, plastic, glass and electric lighting, with accompanying Elizabeth Peyton photo-screenprint in colours on glass with resin frame, numbered 86/2500 in black ink on the base, with the printed Cattelan/Subotnick/Gioni 2005 copyright stamp, published by Cerealart Multiples, Philadelphia, the Peyton contained in the original cardboard box.

47 x 29 x 17 cm (18 1/2 x 11 3/8 x 6 3/4 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 • ♠

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202. Nate Lowman

b. 1979

My Favorite Part of My Favorite Painting, 2011 Archival inkjet print in colours, on canvas stretched onto a wood stretcher, signed and numbered 36/50 in black ink on the reverse, published by Exhibition A, New York, unframed.

51 x 41 cm (20 1/8 x 16 1/8 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900

203. Hiroshi Sugimoto

b. 1948

U.A. Walker, New York, 1978/2000 Photo-etching, on BFK Rives paper, with full margins, with accompanying bound book, signed in pencil and numbered 0709/1000 (printed) on a label afxed to the case, published

by Eyestorm, London and Sonnabend Sundell Editions, New York, the photo-etching contained in the original metal hinged case, the book contained in a silver cardboard slipcase.

I. 29.2 x 37.5 cm (11 1/2 x 14 3/4 in.)

S. 43.2 x 53.3 cm (17 x 20 7/8 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900

204. JR

b. 1984

Self-Portrait in a Woman’s Eye, Kenya, from 28 Milimetres, Women are Heroes, 2010 Giclée print, on Magnani paper, with full margins, signed with initials, dated ‘2010’ and numbered 142/150 in pencil, further stamp-signed with initials, published by the Circle Culture Gallery, Berlin, framed.

I. 65.8 x 87.8 cm (25 7/8 x 34 5/8 in.)

S. 69.5 x 93 cm (27 3/8 x 36 5/8 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ♠

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205. Luc Tuymans

b. 1958

Illusion and Reality, 2005 Screenprint in colours, on wove paper, with full margins, with the accompanying book, Illusuion and Memory by Christopher Caudwell, and printed bookplate, the print and bookplate both signed and numbered 18/50 in pencil, published by Salon Verlag, Cologne, contained in the original blue fabric-covered porfolio with book inset.

48.5 x 38 x 4.5 cm (19 1/8 x 14 7/8 x 1 3/4 in.)

Estimate £1,000-1,200 $1,400-1,700 €1,300-1,500 ♠

206. Christopher Wool

b. 1955

Untitled (Kölnischer Kunstverein), 1991 Lithograph in colours, on smooth laid paper, with full margins, signed, dated ‘1991’ and numbered 30/40 in pencil on the reverse, published by Edition Kölnischer Kunstverein, Cologne, framed.

I. 97.7 x 63.8 cm (38 1/2 x 25 1/8 in.)

S. 98.5 x 64.9 cm (38 3/4 x 25 1/2 in.)

Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900

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207. Zaha Hadid

1950-2016

Solid (Edition No. 31), 2005 Vacuum cast polyurethane resin, with accompanying light-box, with embossed signature and numbered 154/250, published

by Deutsche Guggenheim, Berlin, on the occasion of their 25th anniversary, contained in the original plastic box.

4.8 x 37 x 6.5 cm (1 7/8 x 14 5/8 x 2 1/2 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ♠

208. Ai Weiwei

b. 1957

Art Edition, 2014 Chinese marble (Fangshan District), Habotai silk scarf and cloth-bound book, signed in red ink and stamp-numbered 020/100 on the accompanying Certifcate of Authenticity (there were also a number of artist’s proofs), further numbered ‘020’ on the slipcase spine and again on the original, branded packaging, with the original slip case. marble 18.8 x 76.5 x 51.4 cm (7 3/8 x 30 1/8 x 20 1/4 in.) wrapped book 45 x 35.5 x 11 cm (17 3/4 x 13 7/8 x 4 3/8 in.) installed 21.5 x 76.2 x 52 cm (8 1/2 x 30 x 20 1/2 in.)

Estimate £6,000-8,000 $8,700-11,500 €7,600-10,100

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209. Ai Weiwei

b. 1957

Blue 5, 2015 Industrial paint in blue, on Munken Polar paper dust-jacket, with the accompanying boxed exhibition catalogue, signed in pencil on the right folded panel (visible on the reverse), further signed (printed) and numbered 25/108 in black ink on the accompanying Certifcate of Authenticity, from the edition of unique variants in ten colours, published by the Royal Academy of Arts, London, for the artist edition of their Ai Weiwei retrospective, 19 Sept - 13 Dec 2015, framed.

I. 29.5 x 57 cm (11 5/8 x 22 1/2 in.) unfolded S. 30.5 x 100 cm (12 x 39 3/8 in.)

Estimate ÂŁ7,000-9,000 $10,100-13,000 â‚Ź8,900-11,400

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210. Gerhard Richter

b. 1932

211. 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 409/500 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.)

Haggadah (P2), 2006/2013 Chromogenic print, fush-mounted to aluminium with metal strainer on the reverse (as issued), the full sheet, this facsimile object is unsigned and numbered 175/500 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 £8,000-12,000 $11,500-17,300 €10,100-15,200 ‡♠

Estimate £6,000-8,000 $8,700-11,500 €7,600-10,100 ♠

Literature Heni Productions P1

Literature Heni Productions P2

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212. Gerhard Richter

b. 1932

Bouquet (P3), 2006/2013 Chromogenic print, fush-mounted to aluminium with metal strainer on the reverse (as issued), the full sheet, this facsimile object is unsigned and numbered 175/500 in black ink on the reverse, published by Fondation Beyeler, Basel, 2013.

60 x 88.5 cm (23 5/8 x 34 7/8 in.)

Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600 ♠ Literature Heni Productions P3

213. Gerhard Richter

b. 1932

Victoria I, 1987 Ofset lithograph in colours, on smooth wove paper, with full margins, with printed signature and date ‘1987’, the edition size unknown, published by Achenbach Art Edition, Düsseldorf, unframed.

I. 60 x 40 cm (23 5/8 x 15 3/4 in.)

S. 79.8 x 60 cm (31 3/8 x 23 5/8 in.)

Estimate £1,200-1,500 $1,700-2,200 €1,500-1,900 ♠

214. 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 unframed. 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 $2,900-4,300 €2,500-3,800 ♠

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215. Keith Haring

1958-1990

Untitled (Pop Shop Tokyo, Rice Bowl), 1987 Unique ceramic bowl painted in dark teal with glaze, signed and dated ‘87’ in dark teal on the underside, from the series of unknown size each hand-painted by the artist in a unique design, produced for the opening of Keith Haring’s Tokyo based Pop Shop.

6 x 13 x 13 cm (2 3/8 x 5 1/8 x 5 1/8 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800

216. Jef Koons

b. 1955

Infatable Balloon Flower (Yellow), 1997 Yellow PVC balloon, signed, dated ‘97’ and numbered from the edition of 100 in red marker on the balloon (there were also 40 artist’s proofs in Roman numerals), published by Parkett Editions, Zurich and New York, contained in original cardboard box.

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 Literature Edition for Parkett 50/51

217. Jef Koons

b. 1955

Balloon Dog (Red), 1995 Porcelain painted in chrome, numbered 1605/2300 in black ink on a label afxed to the underside, published by the Museum of Contemporary Art, Los Angeles, with original plastic stand, contained in original polystyrenelined cardboard box.

26.7 cm (10 1/2 in.) diameter Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900

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218. Yayoi Kusama

b. 1929

Sea, 1989 Screenprint in colours, on Izumi paper, with full margins, signed, titled in Japanese, dated ‘1989’ and numbered 61/100 in pencil (there were also 10 artist’s proofs), framed.

I. 44.8 x 52.5 cm (17 5/8 x 20 5/8 in.)

S. 53.5 x 61 cm (21 1/8 x 24 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 Literature Yayoi Kusama 136

219. Yayoi Kusama

b. 1929

Snail, 1989 Screenprint in colours, on Izumi paper, with full margins, signed, titled in Japanese, dated ‘1989’ and numbered 26/100 in pencil (there were also 8 artist’s proofs), framed.

I. 45.2 x 52.7 cm (17 3/4 x 20 3/4 in.)

S. 53.5 x 61 cm (21 1/8 x 24 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 Literature Yayoi Kusama 127

220. Yayoi Kusama

b. 1929

Infnity Nets (B), 1994 Etching, on Arches paper, with full margins, signed, titled in Japanese, dated ‘1994’ and numbered 39/50 in pencil (there were also 5 artist’s proofs), framed.

I. 29.5 x 41.8 cm (11 5/8 x 16 1/2 in.)

S. 45.2 x 62.7 cm (17 3/4 x 24 5/8 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 ‡ Literature Yayoi Kusama 204

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221. Yayoi Kusama

b. 1929

Waves, 1994 Etching, on Arches paper, with full margins, signed, titled in Japanese, dated ‘1994’ and numbered 35/50 in pencil (there were also 8 artist’s proofs), framed.

I. 41.7 x 29.7 cm (16 3/8 x 11 3/4 in.)

S. 62.7 x 45.5 cm (24 5/8 x 17 7/8 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 ‡ Literature Yayoi Kusama 199

222. Yayoi Kusama

b. 1929

River Wave, 1993 Etching, on Arches paper, with full margins, signed, titled in Japanese, dated ‘1993’ and numbered 43/50 in pencil, framed.

I. 27.3 x 21.7 cm (10 3/4 x 8 1/2 in.)

S. 48.8 x 38.2 cm (19 1/4 x 15 in.)

221

222

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 ‡ Literature Yayoi Kusama 172

223. Yayoi Kusama

b. 1929

Infnity, 1953-1984 Etching, on Arches paper, with full margins, signed, titled, dated ‘1953-1984’ and numbered 8/30 in pencil (there were also 3 artist’s proofs), framed.

I. 19.7 x 36.2 cm (7 3/4 x 14 1/4 in.)

S. 45.5 x 62.8 cm (17 7/8 x 24 3/4 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 ‡ Literature Yayoi Kusama 57

224. Yayoi Kusama

b. 1929

Infnity, 1995 Etching, on Fukui-shi paper, with full margins, signed, titled in Japanese, dated ‘1995’ and numbered 30/50 in pencil (there were also 8 artist’s proofs), framed.

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

S. 56.5 x 75.5 cm (22 1/4 x 29 3/4 in.)

Estimate £2,500-3,500 $3,600-5,000 €3,200-4,400 ‡ Literature Yayoi Kusama 224

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Woodcut.

The earliest and most enduring form of printmaking.

Knives and gouges are used to cut away the areas around the image to be printed, leaving the design in relief. A dauber or roller applies the ink to the block before the paper is laid down onto the inked surface and rubbed from the back with the palm of the hand, or a wooden spoon.

The transferred image, built in layers from light to dark, retains the wood grain.

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225. Yoshitomo Nara

b. 1959

Pissed Of!, 2010 Ukiyo-e woodcut in colours, on Japan paper, with full margins, signed, dated '2010' and numbered 37/50 in pencil (there were also 12 artist's proofs), co-published by Pace Editions Inc. and Tomio Koyama Gallery, New York and Tokyo, framed.

I. 34.5 x 25 cm (13 5/8 x 9 7/8 in.)

S. 42 x 29.3 cm (16 1/2 x 11 1/2 in.)

Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900 ‡ Literature N. Miyamura and S. Suzuki, eds. E-2010-010

226. Yoshitomo Nara

b. 1959

S.O.S., 2010 Ukiyo-e woodcut in colours, on Japan paper, the full sheet, signed and numbered 26/50 in pencil (there were also 12 artist's proofs), co-published by Pace Editions Inc. and Tomio Koyama Gallery, New York and Tokyo, framed.

S. 42 x 29.8 cm (16 1/2 x 11 3/4 in.)

Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900 ‡ Literature N. Miyamura and S. Suzuki, eds. E-2010-011

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227. Yoshitomo Nara

b. 1959

Don’t Cry, 2012 Ukiyo-e woodcut in colours, on Japan paper, the full sheet, signed, dated '2012' and numbered 39/50 in pencil (there were also 12 artist's proofs), co-published by Pace Editions, Inc. and Tomio Koyama Gallery, New York and Tokyo, framed.

S. 42 x 29.2 cm (16 1/2 x 11 1/2 in.)

Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900 ‡

228. Yoshitomo Nara

b. 1959

Poindexter, 2010 Ukiyo-e woodcut in colours, on Japan paper, the full sheet, signed, dated '2010' and numbered 26/50 in pencil (there were also 12 artist's proofs), published by Pace Editions, Inc. and Tomio Koyama Gallery, New York and Tokyo, framed.

S. 42 x 29.5 cm (16 1/2 x 11 5/8 in.)

Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900 ‡ Literature N. Miyamura and S. Suzuki, eds. E-2010-009

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229. Yoshitomo Nara

b. 1959

Time Goes On; and Universal Soldier, 2002-04; and 2004 One photogravure and aquatint, and one etching, both on wove paper, both with full margins, Time Goes On signed, dated ‘2002-04’ and numbered 46/52 in pencil, published by KIDO Press, Inc., Tokyo (with their blindstamp), Universal Soldier signed in pencil, an unnumbered impression from the edition of 400 printed for the calendar of the Department of Painting and Printmaking, Tokyo University of the Arts, both unframed. both I. various sizes, one S. 48 x 38 cm (18 7/8 x 14 7/8 in.) one S. 15 x 19.2 cm (5 7/8 x 7 1/2 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 Literature N. Miyamura and S. Suzuki, eds. E-2004-006

230. Takashi Murakami

b. 1962

Project KO² Perfect, 1999 Plastic and wood painted in colours, from the edition of 200, master model made by BOME (Kaiyodo).

52 x 13 x 23 cm (20 1/2 x 5 1/8 x 9 in.)

Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600 ‡ Artwork ©1999 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

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231. Takashi Murakami

b. 1962

Plush Flowerball (set of three), 2003 Three polyester, acrylic boa, cotton, and polyurethane sculptures, each numbered 081/300, 057/200 and 038/100 (printed) on a fabric tag afxed to each work (there were also 5 artist’s proofs) further stamp-numbered on the accompanying Certifcates of Authenticity, published by Kaikai Kiki Ltd., Tokyo. (i) 25 cm (9 7/8 in.) diameter (ii) 40 cm (15 3/4 in.) diameter (iii) 60 cm (23 5/8 in.) diameter Estimate £5,000-7,000 $7,200-10,100 €6,300-8,900 ‡ Artwork ©2008 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is sold with no reserve

232. Takashi Murakami

b. 1962

Flowers With Smiley Faces; Such Cute Flowers; Flowers, Flowers, Flowers; Open Your Hands Wide, Embrace Happiness!; Field of Smiling Flowers; If I Could Reach That Field of Flowers, I Would Die Happy; Maiden In The Yellow Straw Hat; The Future Will Be Full of Smile! For Sure!; and Poporoke Forest, 2010-2014 Nine 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. one S. 86 x 67 cm (33 7/8 x 26 3/8 in.) three S. 67 x 67 cm (26 3/8 x 26 3/8 in.) two S. 60 x 60 cm (23 5/8 x 23 5/8 in.) three S. 50 x 50 cm (19 5/8 x 19 5/8 in.)

Estimate £2,500-3,000 $3,600-4,300 €3,200-3,800 • ‡ Artworks ©2010, 2011, 2013 and 2014 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

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This lot is sold with no reserve

233. Takashi Murakami

b. 1962

Flowerball sexual Violet No. 1 (3D); Flowerball (3-D) Sequoia sempervirens; Flower Ball (3-D) Autumn 2004; Flowerball (3D) From the Realm of the Dead; Flower Ball (3D); Flower Ball (Lots of Colors); Flower Ball (3-D) Kindergarten; Flowerball Pink; Flower Ball (3-D) Sunfower; Flowerball Brown; Right There, The Breadth of the Human Heart; and Flowerball Margaret (3D), 2002-2013 Fourteen 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 Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600 • ‡ Artworks ©2002, 2007, 2008, 2009, 2013 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

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This lot is sold with no reserve

234. Takashi Murakami

b. 1962

Flowerball Red (3D) The Magic Flute; Flowerball (3D) - Turn Red; Flowerball (3D) - Red Ball; Flowerball (3D) - Red, Pink, Blue; Flowerball (3D) Papyrus; Flowerball (3D) - Blue, Red; Groping for the Truth; Flowerball - Goldfsh Colors (3D); There is Nothing Eternal in this World. That is Why You are Beautiful; Letter to Picasso; Comprehending the 51st Dimension; and Hey! You! Do You Feel What I Feel?, 2008-2014 Twelve 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 Estimate £7,000-10,000 $10,100-14,400 €8,900-12,600 • ‡ Artworks ©2008, 2009, 2013 and 2014 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is sold with no reserve

235. 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 variously from the edition of 300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both S. 46 cm (18 1/8 in.) diameter Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 • ‡ Artworks ©2013 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

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This lot is sold with no reserve

236. Takashi Murakami

b. 1962

An Homage to IKB 1957 B; An Homage to Monopink 1060 C; An Homage to Monogold 1960 C; An Homage to Yves Klein, Multicolor C; An Homage to Monopink 1960 D; An Homage to Monogold 1960 B; An Homage to Yves Klein, Multicolor D; An Homage to IKB 1957 C; An Homage to Monogold 1960 D; An Homage to IKB 1957 D; An Homage to Monopink 1960 B; and An Homage to Yves Klein, Multicolor B, 2012 Twelve ofset lithographs in colours, on smooth wove paper, the full sheets, all signed and numbered variously from the edition of 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.)

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Estimate £4,000-6,000 $5,800-8,700 €5,100-7,600 • ‡ Artworks ©2012 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

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This lot is sold with no reserve

237. Takashi Murakami

b. 1962

And then and then and then and then and then (Pink); AND THEN Platinum; And then and then and then and then and then (Aqua Blue); AND THEN Black; And then and then and then and then and then (Blue); And then and then and then and then and then (Red); Melting DOB A; And then and then and then and then and then (Yellow); and AND THEN Ichimatsu Pattern, 1999-2006 Nine ofset lithographs in colours, on smooth wove paper, the full sheets, all signed and numbered variously from the edition of 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.)

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Estimate £3,000-5,000 $4,300-7,200 €3,800-6,300 • ‡ Artworks ©1999, 2005 and 2006 Takashi Murakami /Kaikai Kiki Co. Ltd., All Rights Reserved.

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This lot is sold with no reserve

238. Takashi Murakami

b. 1962

And Then x 6 (White: The Superfat Method, Blue and Yellow Ears); And Then x 6 (Blue: The Superfat Method); And Then, And Then And Then And Then And Then. Yellow Universe; DOB in Pure White Robe (Pink & Blue); And then, and then and then and then and then / Kappa; And then x 6 (Red: The Superfat Method); and DOB in Pure White Robe (Navy & Vermilion), 2006; and 2013 Seven ofset lithographs in colours, on smooth wove paper, the full sheets, all signed and numbered variously from the edition of 300 in black or silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 50 x 50 cm (19 5/8 x 19 5/8 in.)

This lot is sold with no reserve

239. Takashi Murakami

b. 1962

Jelly fsh; This World and the World Beyond; and Backbeard, 2003; and 2013 Three ofset lithographs in colours, on smooth wove paper, the full sheets, all signed and numbered variously from the edition of 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 £3,000-5,000 $4,300-7,200 €3,800-6,300 • ‡

Estimate £800-1,200 $1,200-1,700 €1,000-1,500 • ‡

Artworks ©2006 and 2013 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.

Artwork ©2003 and 2013 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.

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This lot is sold with no reserve

240. Takashi Murakami

b. 1962

Flowers for Algernon; Even The Digital Realm Has Flowers To Ofer!; Warhol/Silver; and Purple Flowers In A Bouquet, 2009; and 2010 Four ofset lithographs in colours, on smooth wove paper, the full sheets, all signed and numbered variously from the edition of 300 respectively in silver ink, published by Kaikai Kiki Co., Ltd., all framed. all S. 71 cm (27 7/8 in.) diameter Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 • ‡ Artworks ©2009 and 2010 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is sold with no reserve

241. Takashi Murakami

b. 1962

Floating Campsite; Flower; Open Your Hands Wide; Warm and Sunny; and Flower 2, 2002-2011 Five ofset lithographs in colours, on smooth wove paper, the full sheets, all signed and numbered variously from the edition of 300 in black or silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. one S. 76.5 x 92 cm (30 1/8 x 36 1/4 in.) one S. 71 cm (27 7/8 in.) diameter one S. 68 x 68 cm (26 3/4 x 26 3/4 in.) two S. 52.5 x 52.5 cm (20 5/8 x 20 5/8 in.)

Estimate £2,000-3,000 $2,900-4,300 €2,500-3,800 • ‡ Artworks ©2002, 2010 and 2011 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.

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This lot is sold with no reserve

242. Takashi Murakami

b. 1962

Acupuncture Painting “Opening Wide, Squeezing Tight” - Terre Verte (Squeezing Tight); Acupuncture/Flowers (Checkers); Acupuncture/ Flowers; and Acupuncture Painting “Opening Wide, Squeezing Tight” - Smell of Blood (Squeezing Tight), 2006; and 2008 Four ofset lithographs in colours, on smooth wove paper, the full sheets, all signed and numbered variously from the edition of 300 respectively in black or silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. two S. 68 x 68 cm (26 3/4 x 26 3/4 in.) two S. 50 x 50 cm (19 5/8 x 19 5/8 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 • ‡ Artworks ©2006 and 2008 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is sold with no reserve

243. Takashi Murakami

b. 1962

Kaikai Kiki And Me - The Shocking Truth Revealed!; Kaikai and Kiki: Lots of Fun; Kaikai Kiki And Me - For Better Or Worse In Good Times And Bad. The Weather Is Fine; and Me and Mr. DOB, 2009; and 2010 Four 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. 68 x 68 cm (26 3/4 x 26 3/4 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 • ‡ Artworks ©2009 and 2010 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.

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This lot is sold with no reserve

244. Takashi Murakami

b. 1962

Jellyfsh Eyes Cream; Jellyfsh Eyes – White4; Jellyfsh Eyes - Black 5; Jellyfsh Eyes - White1; Jellyfsh Eyes - Black 1; and Jellyfsh Eyes, 2001-2013 Six ofset lithographs in colours, on smooth wove paper, the full sheets, all signed and numbered variously from the edition of 300 in black or silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all S. 50 x 50 cm (19 5/8 x 19 5/8 in.)

Estimate £1,500-2,000 $2,200-2,900 €1,900-2,500 • ‡ Artworks ©2001, 2004, 2006 and 2013 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

This lot is sold with no reserve

245. Mark Grotjahn and Takashi Murakami b. 1968 and b. 1962 Untitled (Canary Yellow and Black Butterfy 830); and Untitled (Scarlet Lake and Indigo Blue Butterfy 826), 2008-2010 Two ofset lithographs in colour, on smooth wove paper, the full sheets, both signed and numbered variously from the edition of 300 respectively in silver ink, published by Kaikai Kiki, Co., Ltd., Tokyo, both framed. both S. 70 x 55.6 cm (27 1/2 x 21 7/8 in.)

Estimate £1,000-1,500 $1,400-2,200 €1,300-1,900 • ‡ Artworks ©2008-2010 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.

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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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Rose Blake Blue Sunday, 2015 (detail) 106 x 160 cm (413/4 x 63 in.) © Rose Blake

Stencil.

Ink. Screenprint.

Print-making Workshop 4 June 2016, 10am–5pm Phillips invites you to join us for an all-day print-making exhibition and workshop, in collaboration with artist Rose Blake and Worton Hall Studios. Coinciding with the public preview of our June Editions sales, the print-making will continue throughout the day – with an opportunity for guests to make their own limited edition screenprint, and a Q&A with the artist.

Phillips, 30 Berkeley Square, London W1J 6EX 11.30 Participatory print-making session 1 12.30 Q&A 14.30 Participatory print-making session 2 RSVP Milda Steinboka msteinboka@phillips.com +44 20 7318 4069

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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 £50,000, 20% of the portion of the hammer price above £50,000 up to and including £1,000,000 and 12% of the portion of the hammer price above £1,000,000. 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

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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.

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Executive Management Chairman & CEO Edward Dolman Senior Directors Jean-Paul Engelen Henry Allsopp Vanessa Hallett Sam Hines Alexander Payne Jean-Michel Placent Peter Sumner

Chairman, UK & Europe Hugues Joffre

Chief of Staf Lisa King

Worldwide Deputy Chairman Svetlana Marich

Chief Financial Ofcer Annette Schwaer

Head of Business Development & Deputy Chairman Matt Carey-Williams

Chief Creative & Marketing Ofcer Damien Whitmore

Senior Consultants Aurel Bacs Livia Russo

Deputy Chairman, Europe & Asia Finn Schouenborg Dombernowsky

Senior Advisors to Chairman & CEO Francesco Bonami Arnold Lehman

Chief Communications & PR Ofcer Michael Sherman Chief Counsel Richard Aydon

Deputy Chairman, Asia Jonathan Crockett

Chief Operating Ofcer, Americas Sean Cleary

Deputy Chairmen, Americas David Georgiades August O. Uribe

Chief Operating Ofcer, UK Europe & Asia Frank Lasry

Directors Alex Heminway Nazgol Jahan Martin Klosterfelde Cary Leibowitz Paul Maudsley Zach Miner Kelly Troester

International Business Directors Bart van Son, 20th Century & Contemporary Art Myriam Christinaz, Jewelry, Watches, & Business Development Senior Directors, Human Resources Jennifer Garvin Nicola Mason Strategy Projects Director Caroline Conegliano Associate General Counsel Jonathan Illari

International Specialists Berlin Martin Klosterfelde Director and International Specialist, Contemporary Art +49 177 628 4110 Chicago Carol Ehlers Specialist, Consultant, Photographs +1 773 230 9192 Cologne Dr. Alice Trier Specialist, Contemporary Art +49 173 25 111 69

Worldwide Ofces Istanbul Deniz Atac Specialist, Consultant +90 533 374 1198 Italy Carolina Lanfranchi Specialist, Consultant +39 33 8924 1720 Paris Maria Cifuentes Caruncho Specialist +33 142 78 67 77

Denver Melyora de Koning Senior Specialist, Contemporary Art +1 917 657 7193

Portugal Maura Marvão Specialist, Consultant, Contemporary Art +351 917 564 427

Geneva Oksana Katchaluba Specialist, Contemporary Art +41 22 906 80 00

Zurich Niklaus Kuenzler Specialist, Contemporary Art +41 79 533 90 00

Sale Rooms

Regional Ofces

New York 450 Park Avenue New York, NY 10022, USA tel +1 212 940 1200 fax +1 212 940 1378

Berlin Kurfürstendamm 193 10707 Berlin, Germany tel +49 30 887 297 44

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

Front Cover Lot 41, Andy Warhol, Queen Elizabeth II of the United Kingdom, from Reigning Queens, 1985, © 2016 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York and DACS, London.

Back Cover Lot 28, Sigmar Polke, Freundinnen I (Girlfriends I), 1967 (detail), © The Estate of Sigmar Polke, Cologne, DACS 2016

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Istanbul Meclisi Mebusan Caddesi Deniz Apartmani No. 79/8 Istanbul Beyoglu 34427, Turkey tel +90 533 374 1198 Milan Via Monte di Pietà, 1/A Milan 20121 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 Zurich Restelbergstrasse 89, 8044 Zurich, Switzerland tel +41 79 533 90 00

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Specialists and Departments 20th Century & Contemporary Art Hugues Joffre, Worldwide Head of 20th Century Art Jean-Paul Engelen, Worldwide Head of Contemporary Art Jonathan Crockett, Head of 20th Century & Contemporary Art, Asia David Georgiades August O. Uribe

+44 20 7318 7923 +1 212 940 1390 +852 2318 2023 +1 212 940 1280 +1 212 940 1208

Bart Van Son

+44 20 7318 7912

London Peter Sumner, Head of Contemporary Art, London Henry Highley, Head of Day Sale Tamila Kerimova, Head of New Now Sale Jonathan Horwich Nathalie Zaquin-Boulakia Matt Langton Iori Endo Simon Tovey Hannah Tjaden Alex Dolman Ava Carleton-Williams Chiara Panarello Florencia Moscova

+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 7318 4093 +44 20 7901 7911 +44 20 7901 7904 +44 20 7318 4073 +44 20 7318 4082

New York Kate Bryan, Head of Evening Sale John McCord, Head of Day Sale Rebekah Bowling, Head of New Now Sale Jean-Michel Placent Zach Miner Rachel Adler Rosan Karen Garka-Prince Amanda Lo Iacono Katherine Lukacher Samuel Mansour Nicole Smith Courtney Raterman Paula Campolieto Annie Dolan Carolyn Mayer Hong Kong Sandy Ma Charlotte Raybaud Annie Tang 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 Eliza Allan New York Jannah Greenblatt Jason Osborne Kaissa Karhu

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+1 212 940 1267 +1 212 940 1261 +1 212 940 1250 +1 212 940 1263 +1 212 940 1256 +1 212 940 1333 +1 212 940 1204 +1 212 940 1260 +1 212 940 1215 +1 212 940 1219 +1 212 940 1387 +1 212 940 1392 +1 212 940 1255 +1 212 940 1288 +1 212 940 1212

+852 2318 2025 +852 2318 2026 +852 2318 2024

+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 +44 20 7318 4069

+1 212 940 1332 +1 212 940 1322 +1 212 940 1238

Design Alexander Payne, Senior Director and Worldwide Head, Design

+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 Kimberly Sørensen Jillian Pfferling Marcus Tremonto Photographs Vanessa Hallett, Senior Director and Worldwide Head, Photographs London Genevieve Janvrin, Head of Photographs, Europe Yuka Yamaji Alexandra Bibby Sophie Busby

+1 212 940 1268 +1 212 940 1266 +1 212 940 1265 +1 212 940 1259 +1 212 940 1268 +1 212 940 1268

+1 212 940 1243

+44 20 7318 7996 +44 20 7318 4098 +44 20 7318 4087 +44 20 7318 4092

New York Sarah Krueger, Head of Sale Caroline Deck Rachel Peart Marijana Rayl Kelly Van Ingen

+1 212 940 1225 +1 212 940 1247 +1 212 940 1246 +1 212 940 1386 +1 212 940 1245

Chicago Carol Ehlers

+1 773 230 9192

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

London Paul David Maudsley Kate Lacey

+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

+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

Hong Kong Amy Chow Jill Chen Joey Luk Tiffany To Angel Ho

+852 2318 2035 +852 2318 2000 +852 2318 2032 +852 2318 2036 +852 2318 2031

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Specialists and Departments Jewels Nazgol Jahan, Worldwide Director London Lane Clements McLean New York Kristen Dowling Christina Alford Hong Kong Anellie Manolas Exhibitions Edwin Pennicott

Client Advisory +1 212 940 1283

+44 20 7318 4032

+1 212 940 1302 +1 212 940 1365

+825 9383 3041

+44 20 7901 2909

Arts Partnerships London Isa Tharin New York Lauren Shadford Cecilia Wolfson Private Sales Susanna Brockman Proposals Lauren Zanedis

+44 20 7318 4024

+1 212 940 1257 +1 212 940 1258

+44 20 7318 4041

+1 212 940 1271

Ofce of the Chairman and Chief Executive Ofcer Mariangela Renshaw +1 212 940 1207, +44 207 318 4029 Executive Assistant to the Senior Executives Elizabeth Anne Wallace

+1 212 940 1303

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

Communications and Marketing Michael Sherman, Chief Communications and Public Relations Ofcer Jaime Israni, PR Specialist Trish Walsh, Director of Marketing & Events Emma Miller Gelberg, Associate Manager, Marketing and Business Development Charlotte Adlard, Marketing Associate Georgia Trotter, Events Manager

+1 212 940 1384 +1 212 940 1398 +1 212 940 1224 +1 212 940 1291 +44 207 901 7905 +44 20 7318 4085

Creative Services Andrea Koronkiewicz, Director of Creative Services Orlann Capazorio, Director of Production London Eve Campbell, Creative Services Manager Moira Gil, Graphic Designer Laurie-Ann Ward, Graphic Designer

+1 212 940 1326 +1 212 940 1281

+44 20 7901 7919 +44 20 7901 7917 +44 20 7901 7918

New York Jef Velazquez, Production Artist Christine Knorr, Graphic Designer James Reeder, Graphic Designer

+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 9 June 2016, 2pm and 6pm Evening Auction Lot 1 - 69, 6pm Day Auction Lot 70 - 245, 2pm Viewing 3 – 9 June 2016 Monday – Saturday 10am – 6pm Sunday 12pm – 6pm Sale Designation In sending in written bids or making enquiries please refer to this sales as UK030216 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

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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 New York +1 212 940 1240 London +44 20 7901 7927 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 Eliza Allan +44 20 7318 4069 eallan@phillips.com

Buyer Accounts Carolyn Whitehead +44 20 7318 4020

Property Manager Surya Buck +447867 430097 sbuck@phillips.com Photographers Jean Bourbon Kent Pell Marta Zagozdzon

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 William Saint-Prix +44 20 7901 7830 Charlotte Turner +44 20 7318 4047

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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 £50,000, 20% of the portion of the hammer price above £50,000 up to and including £1,000,000 and 12% of the portion of the hammer price above £1,000,000.

• “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.

• You will not have the right to cancel the sale of any lot purchased by you under the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013.

* Excluding Buyer’s Premium and VAT

Financial Information For your bid to be accepted, we require the following information for our reference only. Please note that you may be contacted to provide a bank reference: Credit Card Type

Expiration Date

Credit Card Number

Signature

Date

By signing this form, you accept the Conditions of Sale of Phillips as stated in our catalogues and on our website.

UK_EDIITONS_JUN16_168-183_R2.indd 180

• By signing this Bid Form, you consent to our use of your personal data, including sensitive personal data, in accordance with Phillips’s Privacy Policy published on our website at www.phillips.com or available on request by emailing dataprotection@phillips.com. We may send you materials about us and our services or other information which we think you may fnd interesting. If you would prefer not to receive such information, please email us at dataprotection@phillips.com.

• Phillips’s premises may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

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Success with us.

Six of our Top 10 prices were world records in April.

Editions/Editions This fall, our Modern & Contemporary Editions auction will be full of fresh, museum quality, original prints, multiples and works on paper. Contact us early to ensure your works are a part of our dynamic selection bringing record prices.

Auction 24 October 2016, New York Kelly Troester (Modern) +1 212 940 1221, ktroester@phillips.com Cary Leibowitz (Contemporary) +1 212 940 1222, cleibowitz@phillips.com

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Index Almond, D. 198 Auerbach, T. 67 Bacon, F. (afer) 111, 112 Bacon, F. 17, 18 Banksy 189, 190, 191, 192, 193 Baselitz, G. 156 Basquiat, J-M. (afer) 47, 48, 49, 50 Beuys, J. 145, 146 Beuys, J. and Byars, J. L. 147 Blake, P. 117, 118, 119 Bourgeois, L. 22 Cattelan, M. 201 Chagall, M. 13, 14 Chapman, J. and D. 51, 52 Chillida, E. 91 Christo and Jeanne-Claude 85, 86, 87, 88, 89 Claisse, G. 100 Condo, G. 164 Cragg, T. 65 Cruz-Diez, C. 101 Dalí, S. 81, 82, 83, 84 Day Jackson, M. 199 Dine, J. 129, 130 Dix, O. 75 Doig, P. 188 Dubufet, J. 90 Duchamp, M. 21 Duchamp, M. and Villon, J. 20

Haring, K. 215 Hirst, D. 53, 54, 55, 56, 57, 58, 59, 60, 173, 174, 175, 176, 177 Hockney, D. 114 Hodgkin, H. 105, 106, 107, 108, 109, 110 Indiana, R. 132, 133 Johnson, R. 200 JR 204 Judd, D. 134, 135 KAWS 61, 196 Kelly, E. 138 Kippenberger, M. 148, 149 Knoebel, I. 143, 144 Koons, J. 66, 216, 217 Kounellis, J. 150 Kusama, Y. 218, 219, 220, 221, 222, 223, 224 Lichtenstein, R. 29, 30, 31, 32, 33, 127, 128 Longo, R. 62, 63, 124, 125, 126 Lowman, N. 202

Förg, G. 151, 152, 153, 154

Magritte, R. (afer) 76 Miller, H. 197 Miró, J. 15 Moore, H. 80 Mortensen, R. 98, 99 Munch, E. 73, 74 Murakami, T. 230, 231, 232, 233, 234, 235, 236, 237, 238, 239, 240, 241, 242, 243, 244

Gober, R. 155 Grotjahn, M. and Murakami, T. 245

Nara, Y. 225, 226, 227, 228, 229 Noland, K. 139, 140

Hadid, Z. 207 Hamilton, R. 19, 115

Opie, J. 64, 178, 179, 180, 181, 182, 183, 184, 185, 186, 187

Emin, T. 169, 170, 171, 172

Penck, A. R. 94 Perry, G. 166, 167, 168 Picasso, P. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 70, 71, 72 Polke, S. 28 Pollock, J. 16 Prince, R. 162 Richter, G. 27, 210, 211, 212, 213, 214 Richter, G. and Genzken, I. 26 Riley, B. 141, 142 Rosenquist, J. 120, 121, 122 Rotella, M. 116 Ruscha, E. 131 Saville, J. 165 Schöfer, N. 96, 97 Sedgley, P. 95 Sherman, C. 159, 160, 161 Soulages, P. 92 Stella, F. 136, 137 Stik 194, 195 Sugimoto, H. 203 Tamayo, R. 78, 79 Tàpies, A. 93 Testino, M. 163 Tilson, J. 113 Tsuguharu Foujita, L. 77 Tuymans, L. 205 Twombly, C. 23 Ufan, L. 24, 25 Various Artists 157, 158 Vasarely, V. 102 Warhol, A. 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46 Weiwei, A. 208, 209 Wesselmann, T. 123 Wool, C. 68, 69, 206 Yvaral (Vasarely, J-P.) 103, 104

70. Pablo Picasso

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53. Damien Hirst

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phillips.com

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