Editions Evening & Day Sales London / 10 September 2020
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Lot 19
19.
Andy Warhol Marilyn, 1967 Estimate ÂŁ140,000-180,000
Evening & Day
Editions London / 10 September 2020
Auction & Viewing Location 30 Berkeley Square, London, W1J 6EX
Modern and Contemporary Editions Department
Auctions
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Evening Sale Thursday, 10 September, 7pm (lots 1–60)
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Day Sale Thursday, 10 September, 1pm (lots 61–261)
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Evening Editions 10 September, 7pm / lots 1–60
Day Editions 10 September, 1pm / lots 61–261
Property from an Important European Collection
1. Joan Miró
1893-1983
Les Grandes Manœuvres (The Great Manoeuvres), 1973 Etching and aquatint with carborundum in colours, on Arches paper, the full sheet. Signed and numbered 49/50 in pencil (there were also some hors commerce impressions), published by Maeght, Paris, framed. S. 138.2 x 60 cm (54 3/8 x 23 5/8 in.) Estimate £20,000-30,000 $25,700-38,500 €22,000-32,900 ♠ plus Buyers Premium and VAT, ARR applies* Provenance Sotheby’s New York, Prints, 1 May 2008, lot 129 Acquired at the above sale by the present owner Literature Jacques Dupin 575
“I have worked these past days with Dutrou at Saint-Paul and have become more and more aware of the richness and new horizons that your process brings to printmaking. Never has one had materials with equal power. As far as I am concerned, I can express myself without a single hindrance, at a single burst of spirit, of line without being paralyzed nor slowed down by an outmoded technique that might risk distorting the free expression, purity and freshness of the fnal result.” Joan Miró, writing to Henri Goetz (painter and engraver) in 1968, praising the results of his newly developed printing technique using carborundum and synthetic resins.
Property from an Important European Collection
2. Joan Miró
1893-1983
La Femme des sables (The Woman of the Sands), 1959 Etching and aquatint with carborundum in colours, on Arches paper, the full sheet. Signed and numbered 55/75 in pencil (there were also some hors commerce impressions), published by Maeght, Paris, framed. S. 105 x 66.7 cm (41 3/8 x 26 1/4 in.) Estimate £12,000-18,000 $15,400-23,100 €13,200-19,800 ♠ plus Buyers Premium and VAT, ARR applies*
Provenance Christie’s New York, Prints and Multiples, 29 April 2008, lot 155 Acquired at the above sale by the present owner Literature Jacques Dupin 500
Property from an Important European Collection
3. Joan Miró
1893-1983
Le Caissier (The Cashier), 1969 Etching and aquatint with carborundum in colours, on Mandeure rag paper, the full sheet. Signed and numbered 67/75 in pencil (there were also some hors commerce impressions), published by Maeght, Paris, framed. S. 90.7 x 68.3 cm (35 3/4 x 26 7/8 in.)
Estimate £12,000-18,000 $15,400-23,100 €13,200-19,800 ♠ plus Buyers Premium and VAT, ARR applies*
Provenance Christie’s New York, Prints and Multiples, 29 April 2008, lot 154 Acquired at the above sale by the present owner Literature Jacques Dupin 487
Property from an Important European Collection
4. Joan Miró
1893-1983
Prise à l’hameçon (Hooked), 1969 Etching and aquatint with carborundum in colours, on Arches paper, the full sheet. Signed and annotated ‘H.C.’ in pencil (an hors commerce impression, the edition was 75), published by Maeght, Paris, framed. S. 106 x 68 cm (41 3/4 x 26 3/4 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ♠ plus Buyers Premium and VAT, ARR applies*
Provenance Christie’s New York, Prints and Multiples, 29 April 2008, lot 158 Acquired at the above sale by the present owner Literature Jacques Dupin 515
Property from an Important European Collection
5. Joan Miró
1893-1983
Le Penseur puissant (The Mighty Thinker), 1969 Etching and aquatint with carborundum in colours, on Arches paper, the full sheet. Signed and numbered 23/75 in pencil (there were also some hors commerce impressions), published by Maeght, Paris, framed. S. 105.7 x 68.1 cm (41 5/8 x 26 3/4 in.) Estimate £12,000-18,000 $15,400-23,100 €13,200-19,800 ♠ plus Buyers Premium and VAT, ARR applies*
Provenance Christie’s New York, Prints and Multiples, 29 April 2008, lot 157 Acquired at the above sale by the present owner Literature Jacques Dupin 514
Property from an Important European Collection
6. Joan Miró
1893-1983
Tracé sur la paroi II (Drawn on the Wall II), 1967 Etching and aquatint with carborundum in colours, on Mandeure rag paper, with full margins. Signed and annotated ‘H.C.’ in pencil (an hors commerce impression, the edition was 75), published by Maeght, Paris, framed. I. 58.6 x 92.4 cm (23 1/8 x 36 3/8 in.) S. 73.2 x 104 cm (28 7/8 x 40 7/8 in.)
Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700 ♠ plus Buyers Premium and VAT, ARR applies*
Provenance Sotheby’s New York, Prints, 1 May 2008, lot 124 Acquired at the above sale by the present owner Literature Jacques Dupin 441
7. Marc Chagall
1887-1985
La Sainte Famille (The Holy Family), 1970 Lithograph in colours, on Arches paper, with full margins. Signed and numbered 47/50 in pencil, framed. I. 65.5 x 50.2 cm (25 3/4 x 19 3/4 in.) S. 76 x 59.1 cm (29 7/8 x 23 1/4 in.) Estimate £8,000-12,000 $10,300-15,400 €8,800-13,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Fernand Mourlot 622
8. Pablo Picasso
1881-1973
Portrait de Jacqueline au chapeau de paille feuri (Portrait of Jacqueline with a Flowery Straw Hat), 1962 Linocut in colours, on Arches paper, with full margins (deckle at lower edge). Signed and annotated ‘Epreuve d’artiste’ in pencil (one of 20 artist’s proofs, the edition was 50), published by Galerie Louise Leiris, Paris, 1963, framed. I. 34.7 x 27.2 cm (13 5/8 x 10 3/4 in.) S. 62.3 x 44.2 cm (24 1/2 x 17 3/8 in.) Estimate £30,000-50,000 $38,500-64,200 €32,900-54,900 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Georges Bloch 1075 Brigitte Baer 1322
9. Pablo Picasso
1881-1973
Variation sur le Déjeuner sur l’herbe de Manet (Variation on Manet’s Lunch on the Grass), 1961 Linocut, on Arches paper, with full margins. Signed and dedicated ‘Pour Yvés’ in pencil, Baer’s 1st state of 3 (a proof aside from the edition of 50 and approximately 20 artist’s proofs), published by Galerie Louise Leiris, Paris, 1963, framed. I. 53.2 x 64.1 cm (20 7/8 x 25 1/4 in.) S. 62.1 x 75.4 cm (24 1/2 x 29 5/8 in.)
Estimate £10,000-15,000 $12,800-19,300 €11,000-16,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Georges Bloch 1023 Brigitte Baer 1277
10. Pablo Picasso
1881-1973
Sculpteur songeant, modèle aux cheveux noirs et bol avec trois anémones (Pensive Sculptor, Model with Black Hair and Bowl with Three Anemones), plate 68 from La Suite Vollard, 1933 Etching, on Montval paper watermarked Vollard, with full margins. Signed in pencil, from the edition of 260 (there was also an edition of 50 with wide margins), published by Ambroise Vollard, Paris, framed. I. 36.8 x 29.7 cm (14 1/2 x 11 3/4 in.) S. 44.6 x 33.9 cm (17 1/2 x 13 3/8 in.) Estimate £8,000-12,000 $10,300-15,400 €8,800-13,200 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Georges Bloch 177 Brigitte Baer 330
11. Francis Bacon
1909-1992
Study for Self-Portrait (afer, Study for Self-Portrait 1982), 1984 Ofset lithograph in colours, on wove paper, with full margins. Signed and numbered 180/182 in pencil (there were also some artist’s proofs), published by Marlborough Graphics, New York, framed. I. 81.8 x 61 cm (32 1/4 x 24 in.) S. 94 x 65 cm (37 x 25 5/8 in.) Estimate £7,000-10,000 $9,000-12,800 €7,700-11,000 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Bruno Sabatier 35 Alexandre Tacou 16
12. Francis Bacon
1909-1992
Study for a Portrait of John Edwards (afer, Three Studies for a Portrait of John Edwards 1984), 1986 Lithograph in colours, on Arches paper, with full margins. Signed and numbered 135/150 in pencil (there were also 5 artist’s proofs), published by Yves Peyré for the literary review L’Ire des Vents, Paris, framed. I. 60.6 x 45.1 cm (23 7/8 x 17 3/4 in.) S. 80.7 x 59.7 cm (31 3/4 x 23 1/2 in.) Estimate £7,000-10,000 $9,000-12,800 €7,700-11,000 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Bruno Sabatier 20 Alexandre Tacou 20
13. David Hockney
b. 1937
Pool Made with Paper and Blue Ink for Book, from Paper Pools, 1980 Lithograph in colours, on Arches Cover paper, the full sheet. Signed, dated and numbered ‘AP LX’ in pencil (one of 100 artist’s proofs, the edition was 1000), published by Tyler Graphics, Ltd., Mt. Kisco, New York (with their blindstamp), framed. S. 26.7 x 22.9 cm (10 1/2 x 9 in.)
Estimate £10,000-15,000 $12,800-19,300 €11,000-16,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Tyler Graphics 269 Museum of Contemporary Art Tokyo 234
Ж
14. David Hockney
b. 1937
Untitled No. 22, from The Yosemite Suite, 2010 iPad drawing in colours, printed on wove paper, with full margins. Signed, dated and numbered 9/25 in pencil, published by the artist (with his blindstamp), framed. I. 81.4 x 61 cm (32 x 24 in.) S. 94 x 71.1 cm (37 x 27 7/8 in.)
Estimate £15,000-20,000 $19,300-25,700 €16,500-22,000 ♠ plus Buyers Premium and VAT, ARR applies*
15. David Hockney
b. 1937
Lithograph of Water Made of Lines, 1978
Estimate £40,000-60,000 $51,400-77,000 €43,900-65,900 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Lithograph in two shades of cyan blue, on TGL handmade paper, with full margins. Signed, dated and numbered ‘AP VII’ in pencil (one of 12 artist’s proofs, the edition was 39), published by Tyler Graphics, Ltd., Mount Kisco, New York (with their blindstamp), 1980, framed. I. 50.8 x 68.7 cm (20 x 27 in.) S. 66 x 87 cm (25 7/8 x 34 1/4 in.)
Literature Tyler Graphics 246 Museum of Contemporary Art Tokyo 203
16. William Kentridge
b. 1955
Reeds, 1996 Etching and aquatint with drypoint printed in red and black, with hand-colouring in pastel, on hand-painted Arches paper, the full sheet. Signed, dated and numbered ‘I/X’ in charcoal (one of 10 in Roman numerals, the edition was 40 and 4 artist’s proofs), published by David Krut Fine Art, London, framed. S. 118 x 158 cm (46 1/2 x 62 1/4 in.)
Estimate £20,000-30,000 $25,700-38,500 €22,000-32,900 plus Buyers Premium and VAT*
Literature David Krut pp. 54-55
The Iconography of a Legend Andy Warhol works from the collection of Toni Schumacher
“Mr. Andy Warhol paints a portrait of Harald Schumacher. Königswinter, May 26, 1983”. This simple accounting ledger by the Gallerist Hermann Wünsche marks the encounter between two legends in their field, and an unlikely meeting between Pop Art and Football.
When Wünsche suggested to Weiand that Warhol should be commissioned to paint Schumacher’s portrait, both men jumped at the idea and the ensuing meeting took place, as documented, on May 26, 1983.
In the early 1980’s, Harald Anton Schumacher (known as Toni) was riding a wave of success as goalkeeper for both his local, Cologne and national West Germany teams, having won the 1980 European Championship and in 1982 reaching the fnal of the World Cup. Unlike most young sports stars, fame and fortune led Schumacher away from the stereotypical trappings of success. “The majority of my fellow players spent their money on big cars, I was crazy about Pop Art!” Schumacher recalls. He had met Wünsche through the President of the 1. FC Köln football club, Peter Weiand (who also had a great admiration for Andy Warhol) and through Wünsche purchased an iconic Marilyn screenprint [lot 19]. In glamorous hot pink, almost the Ferrari of Pop Art, one can see how this Hollywood icon appealed to the young sports star. Even now, when asked what question he would have for Andy Warhol today, Schumacher answers with a smile, “if he could arrange a meeting with Marilyn.”
Warhol was typically modest and introverted, whilst Schumacher was in awe; star-struck by the artist for whom he had so much admiration. Warhol posed Schumacher similarly to Muhammad Ali [lot 17] whom the artist had also depicted for a screenprint edition, and which Schumacher later acquired. Some 30-50 polaroids were taken before Warhol lef and three to four months later, Schumacher received the all-important call from Wünsche to say that the works had arrived. Four screenprints and two originals on canvas: the football star transformed into a Pop Art icon.
Schumacher admired Warhol’s work not only for its heady, colourful aesthetic, but also for the personalities he depicted: celebrities, politicians, and sports stars; all icons in their own right, as Schumacher was also becoming.
Afer being enjoyed for several decades in the clubhouse at 1.FC Köln, the blue canvas portrait of Schumacher was later purchased by the footballer and remains in his collection. Hung alongside his coveted Marilyn, Muhammad Ali and a later acquisition of the complete set of Beethoven prints [lot 18], Schumacher’s portrait became part of the footballer’s personal retrospective of Warhol celebrity portraiture. Testament to his relationship with the artist, both Marilyn and Ali bear dedications to Schumacher, the latter wishing him luck in the European Championship.
“...when the day came, I went to the gallery and there he was, the Pop Art God, Andy Warhol! He was very modest, introvert, dressed all in black with his great white hair. For me in that room, he was the bigger star, I don’t know if he even realised that I was a bit of a star myself. Anyway, I decided then that for me, he defnitely was the bigger star, I was in awe.” Toni Schumacher in conversation with Anne Schneider-Wilson, July 2020
Top image: Andy Warhol photographing Toni Schumacher at the Gallery of Hermann Wünsche, Bonn, 1983 Bottom image: Toni Schumacher at the Gallery of Hermann Wünsche, Bonn, 1983
Property from the Collection of Toni Schumacher
17. Andy Warhol
1928-1987
Muhammad Ali, 1978 Screenprint in colours, on Strathmore Bristol paper, the full sheet. Signed and numbered 32/150 in black felt-tip pen, and dedicated ‘To Harald Schumacher, best wishes for the European Championship’ in ink (faded) on the front (there were also 10 artist’s proofs), published by Andy Warhol Enterprises, Inc., New York (with their inkstamp on the reverse), framed. S. 101.7 x 76 cm (40 x 29 7/8 in.) Estimate £60,000-80,000 $77,000-103,000 €65,900-87,800 plus Buyers Premium and VAT*
Provenance Hermann Wünsche, Bonn Acquired from the above by Toni Schumacher in 1983/4 Literature Frayda Feldman and Jörg Schellmann 182 Andy Warhol: Das Graphische Werk 1962-1980, exh. cat., Hermann Wünsche, Bonn, 1981, no. 137
Andy Warhol, Harald (Toni) Schumacher, circa 1983 © 2020 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London
“Te pose he [Warhol] chose of me for the fnal portrait is similar to the one he chose for Muhammad Ali, with the fst by the chin.” Toni Schumacher in conversation with Anne Schneider-Wilson, July 2020
Property from the Collection of Toni Schumacher
18. Andy Warhol
1928-1987
Beethoven, 1987 The complete set of four screenprints in colours, on Lenox Museum Board, the full sheets. Each signed by the executor of the Estate of Andy Warhol, the publisher, the printer and numbered 26/60 in pencil on the stamped Certifcate of Authenticity on the reverse (there was also an edition of 20 in Roman numerals and 15 artist’s proofs), published by Hermann Wünsche, Bonn, all framed. all S. 102 x 101.9 cm (40 1/8 x 40 1/8 in.) Estimate £200,000-300,000 $257,000-385,000 €220,000-329,000 plus Buyers Premium and VAT*
Provenance Hermann Wünsche, Bonn Acquired from the above by Toni Schumacher in 1987 Literature Frayda Feldman and Jörg Schellmann 390-393
Property from the Collection of Toni Schumacher
19. Andy Warhol
1928-1987
Marilyn, 1967 Screenprint in colours, on wove paper, the full sheet. Signed and dedicated ‘To Toni Schumacher’ in black felt-tip pen on the front and annotated ‘F’ in pencil on the reverse (one of 26 lettered artist’s proofs, the edition was 250), published by Factory Additions, New York, framed. S. 91.5 x 91.6 cm (36 x 36 1/ 8 in.)
Estimate £140,000-180,000 $182,000-233,000 €154,000-199,000 plus Buyers Premium and VAT* Provenance Hermann Wünsche, Bonn Acquired from the above by Toni Schumacher in 1982 Literature Frayda Feldman and Jörg Schellmann 31 Andy Warhol: Das Graphische Werk 1962-1980, exh. cat., Hermann Wünsche, Bonn, 1981, no. 8
Publicity still of Marilyn Monroe, source image for the Marilyn series, 1962 © The Archives of The Andy Warhol Museum, Pittsburgh © 2020 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London.
Property from a Private European Collection
20. Andy Warhol
1928-1987
Marilyn, 1967 Screenprint in colours, on wove paper, the full sheet. Signed in pencil and stamp-numbered 231/250 on the reverse (there were also 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, framed. S. 91.6 x 91.6 cm (36 1/8 x 36 1/8 in.)
Estimate £40,000-60,000 $51,400-77,000 €43,900-65,900 plus Buyers Premium and VAT*
Literature Frayda Feldman and Jörg Schellmann 25
Property from a Private Dutch Collection
21. Andy Warhol
1928-1987
Flowers, 1970 Screenprint in colours, on wove paper, the full sheet. An unsigned proof (aside from the signed and numbered edition of 250 and 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, unframed. S. 91.3 x 91.4 cm (35 7/8 x 35 7/8 in.)
Estimate £10,000-15,000 $12,800-19,300 €11,000-16,500 plus Buyers Premium and VAT*
Provenance Kunsthandel Meijer, Utrecht Acquired from the above by the present owner in 2005 Literature Frayda Feldman and Jörg Schellmann 66
Property from a Private Dutch Collection
22. Andy Warhol
1928-1987
Flowers, 1970 Screenprint in colours, on wove paper, the full sheet. An unsigned proof (aside from the signed and numbered edition of 250 and 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, unframed. S. 91.5 x 91.4 cm (36 x 35 7/8 in.)
Estimate £10,000-15,000 $12,800-19,300 €11,000-16,500 plus Buyers Premium and VAT*
Provenance Kunsthandel Meijer, Utrecht Acquired from the above by the present owner in 2005 Literature Frayda Feldman and Jörg Schellmann 64
Property from a Private German Collection
23. Andy Warhol
1928-1987
Flowers, 1970 Screenprint in colours, on wove paper, the full sheet. An unsigned proof, with an Andy Warhol Art Authentication Board stamp and annotated 'A154.115' in pencil on the reverse (aside from the signed and numbered edition of 250 and 26 artist’s proofs lettered A-Z), published by Factory Additions, New York, unframed. S. 90.9 x 91 cm (35 3/4 x 35 7/8 in.)
Estimate £12,000-18,000 $15,400-23,100 €13,200-19,800 plus Buyers Premium and VAT*
Literature Frayda Feldman and Jörg Schellmann 72
Property from a Private Belgian Collection
24. Andy Warhol
1928-1987
Mao, 1972 Screenprint in colours, on Beckett High White paper, the full sheet. Signed in blue ball-point pen and stamp-numbered 84/250 on the reverse (there were also 50 artist’s proofs), with the artist’s and printer’s copyright inkstamp on the reverse, co-published by Castelli Graphics and Multiples, Inc., New York, unframed. S. 91.5 x 91.5 cm (36 x 36 in.)
Estimate £25,000-35,000 $32,100-44,900 €27,400-38,400 plus Buyers Premium and VAT*
Provenance Gallery HM, Brussels Acquired from the above by the present owner in 1974 Literature Frayda Feldman and Jörg Schellmann 97
Property from a Private Belgian Collection
25. Andy Warhol
1928-1987
Mao, 1972 Screenprint in colours, on Beckett High White paper, the full sheet. Signed in blue ball-point pen and stamp-numbered 84/250 on the reverse (there were also 50 artist’s proofs), with the artist’s and printer’s copyright inkstamp on the reverse, co-published by Castelli Graphics and Multiples, Inc., New York, unframed. S. 91.6 x 91.5 cm (36 1/8 x 36 in.)
Estimate £25,000-35,000 $32,100-44,900 €27,400-38,400 plus Buyers Premium and VAT*
Provenance Gallery HM, Brussels Acquired from the above by the present owner in 1974 Literature Frayda Feldman and Jörg Schellmann 99
26. Andy Warhol
1928-1987
Chanel, from Ads, 1985 Screenprint in colours, on Lenox Museum Board, the full sheet. Signed and numbered 2/190 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. 96.6 x 96.6 cm (38 x 38 in.)
Estimate £80,000-120,000 $103,000-154,000 €87,800-132,000 ‡ plus Buyers Premium and VAT*
Literature Frayda Feldman and Jörg Schellmann 354
“Once this fellow says, ‘Marilyn, what do you wear to bed?’ So I said I only wear Chanel No.5.’” Marilyn Monroe to LIFE Magazine, April 1952
27. Andy Warhol
1928-1987
Absolut Vodka, 1985 Screenprint in colours, on wove paper, with full margins. Signed in pencil, from an unnumbered edition of 100 (not in Feldman and Schellmann), published by Absolut Vodka, framed. I. 106 x 86.7 cm (41 3/4 x 34 1/8 in.) S. 115 x 94.5 cm (45 1/4 x 37 1/4 in.)
Estimate £8,000-12,000 $10,300-15,400 €8,800-13,200 ‡ plus Buyers Premium and VAT*
28. Andy Warhol
1928-1987
Kimiko, 1981 Screenprint in colours, on Stonehenge paper, the full sheet. Signed and numbered 'AP 2/50' in pencil on the reverse (an artist's proof, the edition was 250), published by Colorado State University, Department of Art to raise money for its Visual Arts Program (with their blindstamp), framed. S. 91.4 x 91.4 cm (357/8 x 357/8 in.)
Estimate £15,000-20,000 $19,300-25,700 €16,500-22,000 † plus Buyers Premium and VAT*
Literature Frayda Feldman and Jörg Schellmann 237
29. Andy Warhol
1928-1987
Skull, 1976 Screenprint in colours, on Strathmore Bristol paper, the full sheet. Signed and numbered 22/50 in pencil (there were also 10 artist’s proofs), published by Andy Warhol Enterprises, Inc., New York, framed. S. 76.7 x 101.7 cm (30 1/4 x 40 in.)
Estimate £8,000-10,000 $10,300-12,800 €8,800-11,000 plus Buyers Premium and VAT*
Literature Frayda Feldman and Jörg Schellmann 159
30. Andy Warhol
1928-1987
Marilyn, circa 1978 Unique screenprint, on Curtis Rag paper, with full margins. A rare unpublished proof (there was no edition), with the Estate of Andy Warhol and the Visual Arts Foundation inkstamps, and with the number 'UP48.52' and the initials 'VF' in pencil on the reverse, printed by Rupert Jasen Smith, New York, framed. I. 46.6 x 37 cm (183/8 x 145/8 in.) S. 57.2 x 44.7 cm (221/ 2 x 175/8 in.)
Estimate £40,000-60,000 $51,400-77,000 €43,900-65,900 † plus Buyers Premium and VAT*
Provenance Acquired directly from the Estate of Andy Warhol by the present owner, circa 2005 Literature see Frayda Feldman and Jörg Schellmann IIIA.3
31. Andy Warhol
1928-1987
Marilyn, circa 1978 Unique screenprint, on Curtis Rag paper, with full margins. A rare unpublished proof (there was no edition), with the Estate of Andy Warhol and the Visual Arts Foundation inkstamps, and with the number 'UP48.40' and the initials 'VF' in pencil on the reverse, printed by Rupert Jasen Smith, New York, framed. I. 47.7 x 38.8 cm (183/4 x 151/4 in.) S. 57.1 x 44.7 cm (221/ 2 x 175/8 in.)
Estimate £20,000-30,000 $25,700-38,500 €22,000-32,900 † plus Buyers Premium and VAT*
Provenance Acquired directly from the Estate of Andy Warhol by the present owner, circa 2005 Literature see Frayda Feldman and Jörg Schellmann IIIA.3
32. Roy Lichtenstein
1923-1997
Interior with Chair, from Leo Castelli 90th Birthday portfolio, 1997 Screenprint in colours, on Somerset paper, with full margins. Signed, dated and numbered ‘PP VIII/X’ in pencil (one of 10 printer’s proofs, the edition was 90 and 15 artist’s proofs), published by Forty/Ninety, Inc., New York, framed. I. 68.9 x 52.3 cm (27 1/8 x 20 5/8 in.) S. 94 x 68.6 cm (37 x 27 in.)
Estimate £12,000-18,000 $15,400-23,100 €13,200-19,800 plus Buyers Premium and VAT*
Literature Mary Lee Corlett 309
33. Donald Sultan
b. 1951
Red Poppies, 2015
Estimate £8,000-12,000 $10,300-15,400 €8,800-13,200 † plus Buyers Premium and VAT*
Powder-coated aluminium on polished aluminium base, contained in the original foam-lined white cardboard box. Incised with artist’s initials, title, date and stampnumbered 9/25 on the underside, published by Lococo Fine Art, St. Louis, Missouri. 61 x 53.3 x 8.9 cm (24 x 21 x 3 1/ 2 in.)
34. Joseph Beuys
1921-1986
La rivoluzione siamo Noi (The Revolution Is Us), 1972 Phototype print, on polyester sheet, the full sheet. Signed, titled and numbered 159/180 in black felt-tip pen (there were also 18 artist’s proofs), with the artist’s inkstamp, co-published by Modern Art Agency, Naples, and Edition Tangente, Heidelberg, framed. S. 191.4 x 100 cm (75 3/8 x 39 3/8 in.) Estimate £15,000-20,000 $19,300-25,700 €16,500-22,000 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Jörg Schellmann 49
Property from a Private UK Collection
35. Gerhard Richter
b. 1932
MV. 65, 2011 Lacquer on colour photograph. Signed, dated and titled in pencil, from the series of unique works created in the run-up to Richter’s 2011 retrospective Panorama at the Tate Modern, London, framed. 10.1 x 15.1 cm (3 7/8 x 5 7/8 in.) Estimate £25,000-35,000 $32,100-44,900 €27,400-38,400 ♠ plus Buyers Premium and VAT, ARR applies*
Provenance Tate Modern, London Acquired from the above by the present owner in 2011 Literature Gerhard Richter – Beirut, exh. cat., Beirut Art Center, 2012, p. 35
In the mid-1980’s, at a time when New York Neo-Conceptual artists were engaging with questions of image appropriation and reproduction, the German Neo-Expressionists were focused on the emotional qualities of paint. Gerhard Richter, uniquely explored both lines of enquiry, and began painting over photographs, starting a lifelong investigation into the dialogue between old and new media. In his Museum Visit series, Richter merges photographic reproduction with abstract materiality, retaining the construct of the printed photograph whilst heavily applying lacquer to the surface.
Lot 35
Museum Visit is Richter’s largest series of over-painted photographs, including over two hundred individual images. In the run-up to the Tate Modern’s retrospective Panorama (2011-12), Richter captured the fux of individuals attending the museum in a single day from several diferent viewpoints. The waxing and waning fow of visitors is narrated through the artist’s colour choice of lacquer – bright and bold colours indicate large or active crowds passing through whereas white was used over scenes of fewer people.
36. Imi Knoebel
b. 1940
Anima Mundi 5-5 III Ed., 2009 The complete set of fve collages with acrylic in colours, on constructed plastic panels, each mounted to aluminium (as issued). Panel ‘E’ signed, all titled, dated, numbered 2/3 and annotated consecutively ‘A’, ‘B’, ‘C’, ‘D’ and ‘E’ in black ink on the reverse of the plastic panels, all framed. all 29 x 22.8 cm (11 3/8 x 8 7/8 in.)
Estimate £10,000-15,000 $12,800-19,300 €11,000-16,500 ♠ plus Buyers Premium and VAT, ARR applies*
37. Imi Knoebel
b. 1940
Anima Mundi 9-3 III Ed., 2010 The complete set of three collages with acrylic in colours, on constructed plastic panels, each mounted to aluminium (as issued). Panel ‘C’ signed, all titled, dated, numbered 2/3 and annotated consecutively ‘A’, ‘B’, and ‘C’ in black ink on the reverse of the plastic panels, all framed. all 29 x 22.9 cm (11 3/8 x 9 in.) Estimate £7,000-10,000 $9,000-12,800 €7,700-11,000 ♠ plus Buyers Premium and VAT, ARR applies*
38. Sol LeWitt
1928-2007
Vanish, 1994 The complete set of 40 screenprints in black, on Fabriano paper, the full sheets, loose (as issued) all contained in the original grey fabric-covered portfolio with embossed artist’s name. All signed in pencil on the front and numbered 24/28 in pencil on the reverse (there were also 8 artist’s proofs), published by Marco Noire Editore, Turin, Italy, all unframed. all S. 45.5 x 33.5 cm (17 7/8 x 13 1/4 in.) portfolio 48.2 x 36.1 x 3.5 cm (18 7/8 x 14 1/4 x 1 3/8 in.) Estimate £8,000-12,000 $10,300-15,400 €8,800-13,200 plus Buyers Premium and VAT*
Literature Barbara Krakow 1994.07
39. Christopher Wool
b. 1955
Portraits (b/w), 2014 The complete set of six lithographs, on BFK Rives paper, with full margins. All signed, dated and numbered 22/28 in pencil, published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), all framed. all I. 48.3 x 36.7 cm (19 x 14 1/2 in.) all S. 68.6 x 57.2 cm (27 x 22 1/2 in.)
Estimate £12,000-18,000 $15,400-23,100 €13,200-19,800 ‡ plus Buyers Premium and VAT*
40. Christopher Wool
b. 1955
Black Book, 1989 Book with 17 text images, on smooth wove paper, the full sheets, bound (as issued) in the original black paper-covered hardcover. Signed and numbered 43/350 in black ink on the justifcation (there were also 8 artist’s proofs), co-published by Gisela Capitain, Cologne and Thea Westreich, New York. book 58.8 x 41 cm (23 1/8 x 16 1/8 in.)
Estimate £15,000-20,000 $19,300-25,700 €16,500-22,000 † plus Buyers Premium and VAT*
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41. Ai Weiwei
b. 1957
The Papercut Portfolio, 2019 The complete set of eight papercuts, with title page, colophon and texts, the sheets loose (as issued), each papercut contained in an envelope, all contained in the original red clothbound clamshell portfolio. Each papercut signed in pencil, numbered 132 (printed) on the colophon afxed to the inside of the portfolio, from the edition of 250 (there were also 24 artist’s proofs), published by Taschen, London. all S. 60.1 x 60.1 cm (23 5/8 x 23 5/8 in.) portfolio 65 x 64.5 x 8 cm (25 5/8 x 25 3/8 x 3 1/8 in.) Estimate £10,000-15,000 $12,800-19,300 €11,000-16,500 plus Buyers Premium and VAT*
Including New York; Cats and Dogs; Map of China; Furniture; Haircut; Citizen’s Investigation; River Crabs; and Zodiac
42. Jef Koons
b. 1955
Dom Pérignon Balloon Venus (Magenta), 2013 Lacquered polyurethane resin in two parts, with Dom Pérignon Rosé Vintage 2003, and maintenance kit, contained in the original custom fight case. With impressed signature on the suede interior lining of the lower part, from the edition of 650 (there were also 40 artist’s proofs). 49 x 35.8 x 50.4 cm (19 1/4 x 14 1/8 x 19 7/8 in.) Estimate £20,000-30,000 $25,700-38,500 €22,000-32,900 plus Buyers Premium and VAT*
43. Jef Koons
b. 1955
Balloon Swan (Yellow); Balloon Monkey (Blue); and Balloon Rabbit (Red), 2017 Three porcelain multiples painted in chrome, all contained in the original Styrofoamlined boxes with silver printed signature. All with printed signature, title, date and each numbered 274/999, 473/999 and 648/999 respectively on the underside, published by Bernardaud, Limoges, France (with their stamp on the underside).
Swan 24.8 x 15.2 x 20.3 cm (9 3/4 x 6 x 8 in.) Monkey 24.8 x 21 x 41.9 cm (93/ 4 x 81/ 4 x 161/2 in.) Rabbit 26.7 x 14 x 17.8 cm (10 1/2 x 5 1/2 x 7 in.) Estimate ÂŁ20,000-30,000 $25,700-38,500 â‚Ź22,000-32,900 plus Buyers Premium and VAT*
44. Jef Koons
b. 1955
Balloon Swan (Magenta); Balloon Rabbit (Violet); and Balloon Monkey (Orange), 2017 Three porcelain multiples painted in chrome, all contained in the original Styrofoam-lined boxes with silver printed signature. All with printed signature, title, date and numbered 180/999 on the underside, published by Bernardaud, Limoges, France (with their stamp on the underside).
Swan 24.8 x 15.2 x 20.3 cm (9 3/4 x 6 x 8 in.) Rabbit 26.7 x 14 x 17.8 cm (10 1/2 x 5 1/2 x 7 in.) Monkey 24.8 x 21 x 41.9 cm (93/ 4 x 81/ 4 x 161/2 in.) Estimate £20,000-30,000 $25,700-38,500 €22,000-32,900 ‡ plus Buyers Premium and VAT*
45. Keith Haring
1958-1990
Flowers 3, 1990 Screenprint in colours, on Coventry Rag paper, the full sheet. Signed, dated and numbered 92/100 in pencil (there were also 15 artist’s proofs), published by Tony Shafrazi Editions, New York (with their blindstamp), framed. S. 99.7 x 129.4 cm (39 1/4 x 50 7/8 in.)
Estimate £10,000-15,000 $12,800-19,300 €11,000-16,500 † plus Buyers Premium and VAT*
Literature Klaus Littmann p. 166
46. Keith Haring
1958-1990
Icons: one plate, 1990
Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 † plus Buyers Premium and VAT*
Screenprint in colours with embossing, on Arches Cover paper, the full sheet. Signed, dated ‘6/28/90’ and numbered 200/250 by Julia Gruen (Executor for the Keith Haring Estate) in pencil on the Estate stamp on the reverse (there were also 25 artist’s proofs), published by Tony Shafrazi Editions, New York, framed. S. 53.4 x 63.6 cm (21 x 25 in.)
Literature Klaus Littmann pp. 170-171
47. After Jean-Michel Basquiat 1960-1988 Wolf Sausage, 1982-1983/2019 Screenprint in colours, on wove paper, the full sheet. Numbered 16/50 in pencil on the front, signed and dated ‘4/30/19’ by Lisane Basquiat and Jeanine Heriveaux (Administrators of the Estate of JeanMichel Basquiat) in pencil on the Estate stamp on the reverse, published by Flatiron Editions, New York, unframed. S. 56.2 x 76.5 cm (22 1/8 x 30 1/8 in.)
Estimate £10,000-15,000 $12,800-19,300 €11,000-16,500 plus Buyers Premium and VAT*
48. Jonas Wood
b. 1977
Landscape Pot with Plant, 2017 Screenprint in colours, on Somerset Satin Enhanced paper, with full margins. Signed with initials, dated and numbered 65/100 in pencil (there were also 20 artist's proofs), published by Counter Editions, London, framed. I. 84.5 x 60 cm (33 1/4 x 23 5/8 in.) S. 100 x 75 cm (39 3/8 x 29 1/2 in.) Estimate £12,000-18,000 $15,200-22,800 €13,200-19,800 ‡ plus Buyers Premium and VAT*
Literature Gagosian Gallery, New York, Jonas Wood: Prints, pp. 62-63
49. Robert Longo
b. 1953
Untitled (Gabriel’s Wing), 2016 Archival pigment print, on wove paper, with full margins. Signed, dated and numbered 12/20 in pencil (there were also 5 artist’s proofs), published by Médecins du Monde, Paris, unframed. I. 71.2 x 122.2 cm (28 x 48 1/8 in.) S. 81.2 x 132.3 cm (31 7/8 x 52 1/8 in.) Estimate £8,000-12,000 $10,300-15,400 €8,800-13,200 plus Buyers Premium and VAT*
50. Robert Longo
b. 1953
Untitled (Ariane), 2010 Archival pigment print, on wove paper, with full margins. Signed, dated and numbered 12/15 in pencil (there were also 5 artist’s proofs), published by Adamson Editions, Washington, D.C., framed. I. 76.3 x 124 cm (30 x 48 7/8 in.) S. 86.3 x 134 cm (33 7/8 x 52 3/4 in.) Estimate £8,000-12,000 $10,300-15,400 €8,800-13,200 † plus Buyers Premium and VAT*
51. Alex Katz
b. 1927
Late Summer Flowers, 2013 Screenprint in colours, on 4-ply Museum Board, the full sheet. Signed and numbered 46/50 in pencil (there were also 15 artist’s proofs), published by Lococo Fine Art, St. Louis, Missouri (with their and the artist’s copyright inkstamp on the reverse), framed. S. 101.8 x 140 cm (401/8 x 551/8 in.) Estimate £8,000-12,000 $10,300-15,400 €8,800-13,200 † plus Buyers Premium and VAT*
52. Alex Katz
b. 1927
White Roses, 2014 Screenprint in colours, on Museum Board, the full sheet. Signed and numbered 19/50 in pencil (there were also 15 artist’s proofs), published by Lococo Fine Art, St. Louis, Missouri (with their and the artist’s copyright inkstamp on the reverse), framed. S. 108.1 x 217.3 cm (42 1/2 x 85 1/2 in.) Estimate £15,000-20,000 $19,300-25,700 €16,500-22,000 † plus Buyers Premium and VAT*
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53. Julian Opie
b. 1958
Walking in Melbourne 5, from Walking in Melbourne series, 2018 Laser-cut museum board relief print, the full sheet. Signed in black ink and numbered 31/45 (printed) on a label afxed to the reverse of the frame (there were also 4 artist’s proofs), published by Alan Cristea Gallery, London, contained in the sprayed white frame specifed by the artist. framed 63.5 x 160 cm (25 x 63 in.) Estimate £8,000-12,000 $10,300-15,400 €8,800-13,200 ♠ plus Buyers Premium and VAT, ARR applies*
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54. Julian Opie
b. 1958
Walking in Melbourne 6, from Walking in Melbourne series, 2018 Laser-cut museum board relief print, the full sheet. Signed in black ink and numbered 31/45 (printed) on a label afxed to the reverse of the frame (there were also 4 artist’s proofs), published by Alan Cristea Gallery, London, contained in the sprayed white frame specifed by the artist. framed 63.5 x 160 cm (25 x 63 in.) Estimate £8,000-12,000 $10,300-15,400 €8,800-13,200 ♠ plus Buyers Premium and VAT, ARR applies*
Property from a Private UK Collection
55. Grayson Perry
b. 1960
Britain is Best, 2014 Coloured embroidery with glass beads and sequins, on linen. Signed and numbered ‘7’ in pencil on the accompanying Certifcate of Authenticity, from the edition of 20 (there were also 4 artist’s proofs), published by The Paragon Press, London, contained in the original artist’s specifed frame. 120 x 103 cm (47 1/4 x 40 1/2 in.) framed 130 x 113 cm (51 1/8 x 44 1/2 in.)
Estimate £30,000-50,000 $38,500-64,200 €32,900-54,900 ♠ plus Buyers Premium and VAT, ARR applies*
Property from a Private UK Collection
56. Grayson Perry
b. 1960
Map of Days, 2013 Etching from four plates, printed on one sheet of wove paper, with full margins. Signed and numbered 62/68 in pencil on the reverse, published by The Paragon Press, London, contained in the original artist’s specifed frame. I. 109.5 x 150.5 cm (43 1/ 8 x 59 1/4 in.) S. 111 x 151.3 cm (43 3/4 x 59 5/ 8 in.) framed 119 x 161 (46 7/ 8 x 63 3/ 8 in.)
Estimate £20,000-30,000 $25,700-38,500 €22,000-32,900 ♠ plus Buyers Premium and VAT, ARR applies*
57. Damien Hirst
b. 1965
Gold Thioglucose, 2008 Screenprint in colours with gold leaf, on Somerset paper, with full margins. Signed and numbered 7/45 in pencil (there were also 5 artist's proofs), published by Other Criteria, London (with their blindstamp), framed. I. 56.1 x 76.3 cm (22 1/8 x 30 in.) S. 75.6 x 95.1 cm (29 3/4 x 37 1/2 in.)
Estimate £15,000-20,000 $19,300-25,700 €16,500-22,000 † ♠ plus Buyers Premium and VAT, ARR applies*
58. Damien Hirst
b. 1965
Doxylamine, 2007 Etching in colours, on Hahnemühle paper, with full margins. Signed in pencil on the front, and numbered 42/75 in pencil on the reverse (there were also 15 artist’s proofs), published by The Paragon Press, London, framed. I. 43.3 x 58.5 cm (17 x 23 in.) S. 81.6 x 93.7 cm (32 1/8 x 36 7/8 in.)
Estimate £8,000-12,000 $10,300-15,400 €8,800-13,200 † ♠ plus Buyers Premium and VAT, ARR applies*
Literature The Paragon Press 2006-2010 pp. 156-157
59. Tracey Emin
b. 1963
Just Love Me, 1998 Pink neon, on acrylic backboard. Signed in blue ink and numbered 9/13 in black ink on the accompanying Certifcate of Authenticity, published by Kölnischer Kunstverein, Cologne. 38.2 x 115 x 6 cm (15 x 45 1/4 x 2 3/8 in.) Estimate £30,000-40,000 $38,500-51,400 €32,900-43,900 ♠ plus Buyers Premium and VAT, ARR applies*
Provenance Acquired directly from the publisher by the present owner in 1998 Literature Carl Freedman, ed., Tracey Emin: Works 1963-2006, New York, 2006, p. 227 (another example illustrated) Bonnie Clearwater and Gary Indiana, Tracey Emin: Angel Without You, Miami, 2013, p. 13 (another example illustrated)
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60. Harland Miller
b. 1964
You Can Rely on Me, I’ll Always Let You Down, 2011 Inkjet print in colours, on Somerset Satin paper, the full sheet. Signed and numbered 9/35 in pencil (there was also 1 artist’s proof), published by Other Criteria, London, framed. S. 42 x 33.7 cm (16 1/2 x 13 1/4 in.)
Estimate £8,000-12,000 $10,300-15,400 €8,800-13,200 ♠ plus Buyers Premium and VAT, ARR applies*
Day Editions 10 September, 1pm / lots 61–261
61. Jean Cocteau
1889-1963
Orphée à la lyre (Orpheus at the Lyre), 1958 Red earthenware round dish painted in coloured enamels with crayon d’oxyde additions. Signed and dated in crayon d’oxyde on the front, numbered 11/50 and inscribed ‘Edition originale de Jean Cocteau Atelier Madeline-Jolly’ in black enamel on the underside. 36 cm (14 1/8 in.) diameter Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠ †
62. Jean Cocteau
1889-1963
63. Jean Cocteau
L’Ingénue (The Ingenue), 1963
Médiévale (Medieval), 1958
White earthenware round dish with coloured engobe and crayon d’oxyde additions. Incised with signature on the front, numbered 11/40 in black enamel and incised ‘Edition originale de Jean Cocteau Atelier Madeline-Jolly’ on the underside. 32 cm (12 5/8 in.) diameter
Red earthenware turned vase painted in coloured enamels with crayon d’oxyde additions. Incised with signature at the base, numbered 5/50 and inscribed ‘Edition originale de Jean Cocteau Atelier Madeline-Jolly’ in black enamel on the underside. 29.5 x 14 x 14 cm (11 5/8 x 5 1/2 x 5 1/2 in.)
Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 ♠ †
Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠ †
plus Buyers Premium and VAT, ARR applies*
plus Buyers Premium and VAT, ARR applies*
Literature Annie Guédras 200
Literature Annie Guédras 287
plus Buyers Premium and VAT, ARR applies*
Literature Annie Guédras 153
1889-1963
64. Pablo Picasso
1881-1973
Tête de chèvre de profl (Goat’s Head in Profle), 1950 White earthenware round plate painted in colours with partial brushed glaze. From the edition of 50, with the Madoura Plein Feu and Empreinte Originale de Picasso pottery stamps on the underside. 25 cm (9 7/8 in.) diameter Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Alain Ramié 106
65. Pablo Picasso
1881-1973
Visage (Face), 1955 White earthenware turned pitcher painted in colours with glaze on the inside. From the edition of 500, inscribed ‘EDiTiON PiCASSO’ in black paint and with the Edition Picasso and Madoura Plein Feu pottery stamps on the underside. 31.5 x 8.5 x 14 cm (12 3/8 x 3 3/8 x 5 1/2 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Alain Ramié 288
66. Pablo Picasso
1881-1973
Dans l’atelier: peintre, modèle et spectatrice (In the Studio: Painter, Model and Spectator), 1963 Etching, on wove paper, with full margins. Signed in pencil, from the edition of 150 (there were also 10 additional proofs), published by Editions Cercle d’Art, Paris, framed. I. 11.2 x 23.6 cm (4 3/8 x 9 1/4 in.) S. 30.6 x 28.5 cm (12 x 11 1/4 in.) Estimate £3,000-4,000 $3,900-5,100 €3,300-4,400 ♠ plus Buyers Premium and VAT, ARR applies*
Provenance Royal Chef Tore Wretman, Stockholm and Mougins, Provence Private Collection, Sweden Literature Georges Bloch 1139 Brigitte Baer 1136
67. Pablo Picasso
1881-1973
Étreinte VI (Embrace VI), 1963 Etching and aquatint, on BFK Rives paper, with full margins. Signed and numbered 27/50 in pencil (there were also 15 artist’s proofs), published by Galerie Louise Leiris, Paris, 1967, framed. I. 31.4 x 41.5 cm (12 3/8 x 16 3/8 in.) S. 45 x 55.2 cm (17 3/4 x 21 3/4 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Georges Bloch 1115 Brigitte Baer 1108
68. Pablo Picasso
1881-1973
Peintre avec une sculpture sur une sellette, une femme nue et un spectateur (Painter with a Sculpture on a Stand, a Nude Woman and a Spectator), 1963 Etching and aquatint, on BFK Rives paper, with full margins. Signed and numbered 4/50 in pencil, Baer’s 2nd state of 2 (there were also 15 artist’s proofs), published by Galerie Louise Leiris, Paris, 1967, framed. I. 31.2 x 41.6 cm (12 1/4 x 16 3/8 in.) S. 45.4 x 57 cm (17 7/8 x 22 1/2 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Georges Bloch 1125 Brigitte Baer 1120
69. Pablo Picasso
1881-1973
Peintre avec un modèle barbu et une spectatrice (Painter with a Bearded Model and a Spectator), 1963 Etching, on BFK Rives paper, with full margins. Signed and numbered 4/50 in pencil (there were also 15 artist’s proofs), published by Galerie Louise Leiris, Paris, 1967, framed. I. 31.3 x 41.5 cm (12 3/8 x 16 3/8 in.) S. 45.5 x 55.5 cm (17 7/8 x 21 7/8 in.) Estimate £3,500-5,000 $4,500-6,400 €3,800-5,500 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Georges Bloch 1117 Brigitte Baer 1111
This lot is sold with no reserve
70. After Pablo Picasso
1881-1973
Portrait imaginaire (Imaginary Portraits): one plate, 1969 Ofset lithograph in colours, on Arches paper, the full sheet. Numbered ‘A 107/250’ in pencil, from the American edition (there was also a French edition of 250 marked ‘F’), published by Harry N. Abrams, New York, framed. S. 65.8 x 50 cm (25 7/8 x 19 5/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • ‡ ♠ plus Buyers Premium and VAT, ARR applies*
71. After Pablo Picasso
1881-1973
Le Verre dÕabsinthe (Absinthe Glass), 1972 Aquatint in colours, on Arches paper, with full margins. Signed and numbered 77/300 in pencil, published by Atelier Crommelynck, Paris (with their blindstamp), framed. I. 49.5 x 60.6 cm (19 1/2 x 23 7/8 in.) S. 64 x 84 cm (25 1/4 x 33 1/8 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
72. After Pablo Picasso
1881-1973
Dove of Peace, 1961 Ofset lithograph in colours, on wove paper, with full margins. Signed and numbered 157/200 in pencil, framed. I. 48 x 54.5 cm (18 7/8 x 21 1/2 in.) S. 50.5 x 66.4 cm (19 7/8 x 26 1/8 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 ♠ plus Buyers Premium and VAT, ARR applies*
73. Pablo Picasso
1881-1973
Football, 1961 Lithograph in colours, on Arches paper, with full margins. Signed and numbered 66/200 in pencil, published by Le Patriote, Nice, framed. I. 46 x 63 cm (18 1/8 x 24 3/4 in.) S. 55.8 x 76.3 cm (21 7/8 x 30 in.) Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Georges Bloch 1019 Fernand Mourlot 356
74. Pablo Picasso
1881-1973
La Coifure (The Hairstyle), 1923 Lithograph, on Van Gelder Zonen paper, with full margins. Signed and numbered 3/50 in pencil, published by D. H. Kahnweiler, Paris, framed. I. 26.3 x 17 cm (10 3/8 x 6 3/4 in.) S. 38 x 28.5 cm (14 7/8 x 11 1/4 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Provenance Galerie Nichido, Paris (label verso of frame) Literature Georges Bloch 64 Fernand Mourlot XIV
75. Pablo Picasso
1881-1973
Le Bain, plate 12 from La Suite des Saltimbanques (The Bath, from The Acrobats Suite), 1905 Drypoint, on Van Gelder Zonen paper, with full margins. From the edition of 250 (there were also 27 or 29 proofs on japan paper), published by Ambroise Vollard, Paris, 1913, framed. I. 34.2 x 28.9 cm (13 1/2 x 11 3/8 in.) S. 66 x 51 cm (26 x 20 1/8 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Georges Bloch 12 Brigitte Baer 14
76. Alberto Giacometti
1901-1966
Mère de l’artiste lisant III (The Artist’s Mother Reading III), 1964 Lithograph, on BFK Rives paper, with full margins. Signed and numbered 53/75 in pencil, published by Maeght, Paris, framed. I. 44.5 x 33.7 cm (17 1/2 x 13 1/4 in.) S. 65.8 x 50 cm (25 7/8 x 19 5/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡ plus Buyers Premium and VAT*
Literature Herbert Lust 44
77. Henri de Toulouse-Lautrec 1864-1901 Lender et Auguez, dans ‘La Chanson de Fortunio’ (Lender and Auguez, in ‘La Chanson de Fortunio’), 1895 Lithograph in olive-green, on laid japan paper, with full margins. Numbered 16/20 in pencil by Kleinmann, the edition was approximately 25 impressions (Wittrock mentions that part of the edition was not numbered), with the artist’s red monogram stamp (Lugt 1338), published by E. Kleinmann, Paris (with their blindstamp), framed. I. 37.1 x 21.5 cm (14 5/8 x 8 1/2 in.) S. 51.2 x 38.9 cm (20 1/8 x 15 3/8 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 ‡ plus Buyers Premium and VAT, ARR applies*
Literature Wolfgang Wittrock 108 Loys Delteil 108 Götz Adriani 120
78. Henri Matisse
1869-1954
Figure endormie aux babouches (Sleeping Figure with Slippers), 1929 Lithograph, on Arches paper, with full margins. Signed, numbered 4/10 and annotated ‘epr-d’artiste’ in pencil (an artist’s proof, the edition was 50), framed. I. 28 x 38 cm (11 x 14 7/8 in.) S. 45.3 x 55.4 cm (17 7/8 x 21 3/4 in.)
Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Provenance Berggruen et Cie, Paris (label verso of frame) Literature Claude Duthuit 512
79. Henri Matisse
1869-1954
Nu assis, chevelure claire (Seated Nude with Light Hair), 1922 Lithograph, on japan paper, with full margins. Signed and numbered 43/50 in black ink (there were also 10 artist’s proofs), framed. I. 40 x 24 cm (15 3/4 x 9 1/2 in.) S. 43.9 x 28.2 cm (17 1/4 x 11 1/8 in.) Estimate £2,500-3,500 $3,200-4,500 €2,700-3,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Claude Duthuit 422
This lot is sold with no reserve
80. Paul César Helleu Head of a Woman in a Large Hat With a Dog, circa 1900 Drypoint, on wove paper, with full margins. Signed in pencil, framed. I. 27.9 x 38.5 cm (10 7/8 x 15 1/8 in.) S. 32.8 x 42 cm (12 7/8 x 16 1/2 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • plus Buyers Premium and VAT, ARR applies*
81. After René Magritte
1898-1967
L’Oeil (The Eye), 1968 Etching and aquatint in colours, on BFK Rives paper, with full margins. Stampsigned and numbered 142/150 in pencil (there was also an edition of 150 on japan paper and a small number of artist’s proofs), published by Editions Georges Visat, Paris, framed. I. 17.5 x 14.5 cm (6 7/8 x 5 3/4 in.) S. 28.4 x 22.8 cm (11 1/8 x 8 7/8 in.) Estimate £2,500-3,500 $3,200-4,500 €2,700-3,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Gilbert Kaplan and Timothy Baum 17
82. Joan Miró
1893-1983
Suite - La Bague d’aurore (The Ring of Dawn): one plate, 1957 Etching and aquatint in colours, on BFK Rives paper, with full margins. Signed, numbered 2/6 and annotated ‘épreuve d’artiste’ in pencil (an artist’s proof, the total edition was 89), published by Louis Broder, Paris, framed. I. 13.9 x 11.4 cm (5 1/2 x 4 1/2 in.) S. 38 x 28.2 cm (14 7/8 x 11 1/8 in.) Estimate £2,500-3,500 $3,200-4,500 €2,700-3,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Jacques Dupin 138 see Patrick Cramer books 45
83. Joan Miró
1893-1983
Gravures pour une exposition (Engravings for an exhibition): plate 2, 1973 Etching and aquatint in colours, on Arches paper, the full sheet. Signed and numbered 26/75 in pencil (there were also 15 hors commerce impressions in Roman numerals), published by Pierre Matisse, New York, framed. S. 63.1 x 91.3 cm (24 7/8 x 35 7/8 in.) Estimate £1,800-2,200 $2,300-2,800 €2,000-2,400 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Jacques Dupin 607 see Patrick Cramer books 174
This lot is sold with no reserve
84. Joan Miró
1893-1983
L’Oiseau rouge II (The Red Bird II), 1950 Lithograph in colours, on BFK Rives paper, with full margins. Signed, dated and numbered 57/75 in pencil, framed. I. 26 x 44 cm (10 1/4 x 17 3/8 in.) S. 38 x 55.8 cm (14 7/8 x 21 7/8 in.) Estimate £800-1,200 $1,000-1,500 €880-1,300 • ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Fernand Mourlot 99
85. Joan Miró
1893-1983
L’Invention du regard (The Invention of the Gaze), 1970 Etching and aquatint with carborundum in colours, on Arches paper, the full sheet. Signed and numbered 58/75 in pencil (there were also some hors commerce impressions), published by Maeght, Paris, framed. S. 50.4 x 66 cm (19 7/8 x 25 7/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Jacques Dupin 537
86. Joan Miró
1893-1983
La Dentellière (The Lacemaker), 1969 Lithograph in colours, on BFK Rives paper, the full sheet. Signed and numbered 51/75 in pencil, published by Maeght, Paris, framed. S. 85 x 60.3 cm (33 1/2 x 23 3/4 in.) Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Fernand Mourlot 593
87. Joan Miró
1893-1983
Hommage aux Prix Nobel (Tribute to the Nobel Prizes), 1976 Lithograph in colours, on Arches paper, the full sheet. Signed and numbered 60/100 in pencil (there were also 10 hors commerce impressions lettered A-J), published by Galerie Börjeson, Malmö, framed. S. 75.7 x 56 cm (29 3/4 x 22 in.) Estimate £2,500-3,500 $3,200-4,500 €2,700-3,800 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Fernand Mourlot 1094 Patrick Cramer books 224
88. Joan Miró
1893-1983
Untitled, plate VI from Llibre dels sis Sentis (Book of the Six Senses), 1981 Etching and aquatint in colours, on Guarro paper watermarked Sala Gaspar, with full margins. Signed and annotated ‘H.C.’ in pencil (one of 14 hors commerce impressions, the edition was 50), published by Sala Gaspar, Barcelona, framed. I. 72.4 x 54.7 cm (28 1/2 x 21 1/2 in.) S. 90.8 x 70.6 cm (35 3/4 x 27 3/4 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Jacques Dupin 1170 see Patrick Cramer books 252
89. Marc Chagall
1887-1985
L’Ange (The Angel), from Verve Vol. III, No's 33-34, 1956 Lithograph in colours, on Arches paper, the full sheet. Signed, dated and numbered 56/75 in pencil (there was also a book edition of 6500), published by Editions de la Revue, Paris, framed. S. 38 x 28 cm (14 7/8 x 11 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Fernand Mourlot 120 see Patrick Cramer books 25
90. Marc Chagall
1887-1985
Le Bouquet clair (The Light Bouquet), 1970 Lithograph in colours, on Arches paper, with full margins. Signed and numbered 44/50 in pencil, framed. I. 62 x 48 cm (24 3/8 x 18 7/8 in.) S. 75.8 x 56.6 cm (29 7/8 x 22 1/4 in.) Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Fernand Mourlot 610
91. Marc Chagall
1887-1985
Heure sereine (Serene Break), 1983 Lithograph in colours, on Arches paper, with full margins. Signed and annotated ‘E.A.’ in pencil (an artist’s proof, the edition was 50), unframed. I. 46.5 x 31.6 cm (18 1/4 x 12 1/2 in.) S. 65 x 46.5 cm (25 5/8 x 18 1/4 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Fernand Mourlot 1007
This lot is sold with no reserve
92. Jean Dubufet
1901-1985
Site populeux (A Crowded Place), 1976 Screenprint in colours, on Arches paper, with full margins. Signed with initials, dated and numbered 24/50 in pencil (there were also 10 artist’s proofs), published by Pace Editions, New York, unframed. I. 56.5 x 90 cm (22 1/4 x 35 3/8 in.) S. 71.9 x 102 cm (28 1/4 x 40 1/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 • ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Sophie Webel 1174
93. Salvador Dalí
1904-1989
La Vénus aux Fourrures (Venus in Furs), 1969 Sixteen drypoints with hand-colouring in watercolour and gold paint, on japan paper, with full margins, the sheets loose (as issued) all contained in a linen-covered portfolio. All signed and numbered 29/145 in pencil, 15 with further embossed signature (there was also an edition of 294 on various papers), published by Graphik Europa Anstalt, Paris, all unframed, lacking the accompanying four vignettes.
all I. various sizes, largest 31.7 x 24 cm (12 1/2 x 9 1/2 in.) all S. 38.5 x 28.5 cm (15 1/8 x 11 1/4 in.) portfolio 41.5 x 31 cm (16 3/8 x 12 1/4 in.) Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Ralf Michler and Lutz W. Löpsinger 357-376
Including La Femme au fouet (Woman with Whip); Femme tenant le voile (Woman Holding a Veil); La Botte violette (The Violet Boot); Femme à la chaussure (Woman with Shoe); Femme à genoux (Kneeling Woman); Le Torse (Torso); Les Négresses (Negresses); Femme à Cheval (Woman on Horseback); Femme-feuille (Leaf-woman); Les Aigrettes (The Egrets); Allée des Verges (The Lane of the Birches); Les Fesses piquantes (Piquant Buttocks); La Tête (The Head); Femme à la béquille (Woman with Crutch); Le Démon ailé (Winged Demon); and Homme baisant la chaussure (Man Kissing Shoe)
This lot is sold with no reserve
94. Enzo Cucchi
b. 1950
Immagine Feroce (Fierce Image), 1981 The complete set of fve lithographs in colours, on Fabriano Rosaspina paper, the full sheets and with margins, with title page and colophon, the sheets loose (as issued) all contained in the original blue fabric-covered portfolio. All signed and numbered 46/50 in pencil (there were also 6 artist’s proofs in Roman numerals), published by Peter Blum Edition, New York, all unframed. all I. various sizes all S. 64 x 48 cm (25 1/4 x 18 7/8 in.) portfolio 66.5 x 50.5 x 3 cm (26 1/8 x 19 7/8 x 1 1/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • ‡ ♠ plus Buyers Premium and VAT, ARR applies*
This lot is sold with no reserve
95. Antoni Tàpies
1923-2012
Taches et chifres (Spots and Numbers), 1972 Etching and lithograph with carborundum in colours, on Arches paper, with full margins. Signed and numbered 32/75 in pencil, published by Maeght, Paris, framed. I. 65.3 x 94 cm (25 3/4 x 37 in.) S. 74.8 x 104.5 cm (29 1/2 x 41 1/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • ♠ plus Buyers Premium and VAT, ARR applies*
Literature Mariuccia Galfetti 330
This lot is sold with no reserve
96. Karel Appel
1921-2006
Untitled, circa 1965 Lithograph in colours, on BFK Rives paper, with full margins. Signed and numbered 122/200 in pencil, framed. I. 32 x 51 cm (12 5/8 x 20 1/8 in.) S. 38 x 56 cm (14 7/8 x 22 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • ♠ plus Buyers Premium and VAT, ARR applies*
97. Giuseppe Penone
b. 1947
Trentatré Erbe (Thirty-three Herbs), 1989 The complete set of 33 lithographs in colours, on light-wove paper adhered to support sheets (as issued), the full sheets, with colophon, title page and original green fabric-covered portfolio boards with printed artist’s name and title. Signed and numbered 115/120 in pencil on one sheet, further signed, titled and dated in black ink on the title page (there were also 30 artist’s proofs in Roman numerals), published by Marco Noire Editore, Turin, Italy, all framed. all S. 42 x 29.8 cm (16 1/2 x 11 3/4 in.) portfolio boards 46.5 x 34.5 x 2.1 cm (18 1/4 x 13 5/8 x 7/8 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 ♠ plus Buyers Premium and VAT, ARR applies*
98. Serge Poliakof
1900-1969
Composition rouge, jaune et bleue (Composition Red, Yellow and Blue), 1956-57 Lithograph in colours, on wove paper, with full margins. Signed and annotated ‘Epreuve d’artiste’ in pencil (an artist’s proof, the edition was 200), published by Berggruen et Cie., Paris, framed. I. 57.8 x 44.3 cm (22 3/4 x 17 1/2 in.) S. 66 x 48.2 cm (25 7/8 x 18 7/8 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Yves Rivière 13
This lot is sold with no reserve
99. Günther Förg
1952-2013
Untitled, 1988 Watercolour, on light wove paper, the full sheet. Signed and dated twice in blue ink and pencil on the reverse, framed. S. 31.7 x 23.8 cm (12 1/2 x 9 3/8 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 • ‡ ♠ plus Buyers Premium and VAT, ARR applies*
100. Eduardo Chillida
1924-2002
Untitled (Menturatu), 1991 Aquatint, on textured wove paper, with full margins. Signed and numbered 41/50 in pencil, (not in van der Koelen), unframed. I. 24.5 x 28.5 cm (9 5/8 x 11 1/4 in.) S. 50.6 x 66 cm (19 7/8 x 25 7/8 in.) Estimate £1,200-1,800 $1,500-2,300 €1,300-2,000 ♠ plus Buyers Premium and VAT, ARR applies*
101. Eduardo Chillida
1924-2002
Zubi-Aundi (Bridge Over), 1989 Etching and aquatint, on Arches paper, the full sheet. Signed and numbered 13/50 in pencil (there were also 10 artist’s proofs in Roman numerals), published by Galería Theo, Madrid, unframed. S. 160 x 122.5 cm (62 7/8 x 48 1/4 in.) Estimate £7,000-10,000 $9,000-12,800 €7,700-11,000 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Martin van der Koelen 89011
This lot is sold with no reserve
102. Christo and Jeanne-Claude 1935-2020 and 1935-2009 Red Store Front, Project, 1977 Screenprint in colours, with collage of brown wrapping paper, on white board, the full sheet. Signed and numbered 47/110 in pencil (there were also 10 artist’s proofs in Roman numerals), co-published by Edition Schellmann & Klüser, Munich, and Verlag Gerd Hatje, Stuttgart, framed. S. 71 x 55.6 cm (27 7/8 x 21 7/8 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 • ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Jörg Schellmann 93 Jörg Schellmann, ed., Forty Are Better Than One, Munich/New York, 2009, p. 72
103. Otto Piene
1928-2014
PAX, 1970 The complete set of 11 screenprints in colours, on Museum Board, the full sheets, with title page, the sheets loose (as issued) all contained in the original linen-covered portfolio. All signed, dated ‘69’ or ‘70’ and numbered 27/55 in pencil, further numbered in pencil on the title page, published by Edition Rottlof, Karlsruhe, all unframed. all S. 89.1 x 63.6 cm (35 1/8 x 25 in.) portfolio 91 x 66 cm (35 7/8 x 25 7/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 † ♠ plus Buyers Premium and VAT, ARR applies*
104. Anni Albers
1899-1994
Connections, 1925/1983 The complete set of nine screenprints in colours, on Cartiere Miliani of Fabriano Umbria Italia and Fabriano Cotton papers, with full margins, with an introduction From the Line to the Texture by the publisher, the sheets loose (as issued) all contained in the original paper-covered cardboard portfolio with printed title. All signed, dated variously from 1925-1983, and numbered 77/125 in pencil, further numbered ‘77’ in pencil on the colophon, published by Fausta Squatriti, Milan, all unframed. all I. various all S. 70 x 49.2 cm (27 1/ 2 x 19 3/ 8 in.) portfolio 70.5 x 51 x 1 cm (273/ 4 x 201/8 x 3/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 † plus Buyers Premium and VAT*
Literature Nicholas Fox Weber and Brenda Danilowitz 71-79
105. Victor Vasarely
1906-1997
Album Meta: seven plates, 1976 Seven screenprints in colours, on wove paper, with full margins. All signed and each numbered variously from the edition of 225 in pencil, published by Editions Denise René, Paris (with their blindstamp), all unframed. all I. 90.6 x 45.4 cm (35 5/8 x 17 7/8 in.) all S. 116 x 72 cm (45 5/8 x 28 3/8 in.) Estimate £2,500-3,500 $3,200-4,500 €2,700-3,800 ♠ plus Buyers Premium and VAT, ARR applies*
106. John Hoyland
1934-2011
Untitled, 1967 Gouache and graphite, on wove paper mounted to light board, with full margins. Signed and dated in pencil, framed. I. 47 x 62 cm (18 1/2 x 24 3/8 in.) S. 56.3 x 71.4 cm (22 1/8 x 28 1/8 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 ♠ plus Buyers Premium and VAT, ARR applies*
107. Victor Pasmore
1908-1998
Composite Image: Orange and Indigo, 1984 Screenprint in colours, on Arches paper, with full margins. Signed with initials, dated and numbered 57/70 in pencil (there were also 20 artist’s proofs), published by Marlborough Fine Art, London, framed. I. 42.7 x 54.3 cm (16 3/4 x 21 3/8 in.) S. 61.1 x 74.8 cm (24 x 29 1/2 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Norbert Lynton G27
108. Victor Pasmore
1908-1998
109. Victor Pasmore
1908-1998
Senza titolo 8 (Untitled 8), 1989
Senza titolo 6 (Untitled 6), 1988
Etching and aquatint in colours, with Chine-collé to Fabriano paper, with full margins. Signed with initials, dated and numbered 32/90 in pencil (there were also 15 artist’s proofs in Roman numerals), co-published by Marlborough Graphics, London and 2RC Edizioni d’Arte, Rome (with their blindstamp), framed. I. 45 x 124.2 cm (17 3/4 x 48 7/8 in.) S. 65.8 x 168.9 cm (25 7/8 x 66 1/2 in.)
Etching and aquatint in colours, on Fabriano paper, with full margins. Signed with initials, dated and numbered 32/90 in pencil (there were also 15 artist’s proofs in Roman numerals), co-published by Marlborough Graphics, London and 2RC Edizioni d’Arte, Rome (with their blindstamp), framed. I. 147.4 x 75.5 cm (58 x 29 3/4 in.) S. 191 x 97.5 cm (75 1/4 x 38 3/8 in.)
Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 ♠
Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 ♠
plus Buyers Premium and VAT, ARR applies*
plus Buyers Premium and VAT, ARR applies*
Literature Norbert Lynton G60
Literature Norbert Lynton G54
Lot 109
Lot 108
110. Bridget Riley
b. 1931
Composition With Circles 2, 2001
Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 ♠ † plus Buyers Premium and VAT, ARR applies*
Screenprint, on wove paper, with full margins. Signed, titled, dated and numbered 29/30 in pencil (there were also 5 artist’s proofs), published by Dia Center for the Arts, New York, framed. I. 79.7 x 285.1 cm (31 3/8 x 112 1/4 in.) S. 100.4 x 303.8 cm (39 1/2 x 119 5/8 in.)
Literature Karsten Schubert 46
111. Bridget Riley
b. 1931
About Lilac, 2007 Screenprint in colours, on wove paper, with full margins. Signed, titled, dated and numbered 8/75 in pencil (there were also 10 artist’s proofs), published by the artist, unframed. I. 32.4 x 64.7 cm (12 3/4 x 25 1/2 in.) S. 49.2 x 80 cm (19 3/8 x 31 1/2 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ♠ † plus Buyers Premium and VAT, ARR applies*
Literature Karsten Schubert 65
112. David Hockney
b. 1937
Brooke Hopper, from Friends, 1976 Lithograph, on Arches Cover buf paper, the full sheet. Signed, dated and numbered 84/92 in pencil (there were also 16 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), unframed. S. 96.8 x 71.2 cm (38 1/8 x 28 in.)
Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Gemini G.E.L. 713 Scottish Arts Council 177 Museum of Contemporary Art Tokyo 166
113. David Hockney
b. 1937
The Old Guitarist, plate 2 from The Blue Guitar, 1976-77 Etching and aquatint in colours, on Inveresk paper, with full margins. Signed and numbered 197/200 in pencil (there were also 35 artist’s proofs), published by Petersburg Press, London, framed. I. 42.9 x 34.9 cm (16 7/8 x 13 3/4 in.) S. 52.1 x 45.4 cm (20 1/2 x 17 7/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Scottish Arts Council 200 Museum of Contemporary Art Tokyo 179
Ж
114. David Hockney
b. 1937
A Bigger Book, Art Edition C, 2010/2016 iPad drawing in colours, printed on archival paper, with full margins, with the illustrated 680-page chronology book, numbered 541 (printed), original print portfolio and adjustable book stand designed by Marc Newson, contained in the original cardboard box with label stamp-numbered 0541. iPad drawing signed, dated and numbered 41/250 in pencil, the book signed in black ink on the title page (one of four editions of 250 lettered A-D, there was also an edition of 10,000 without an iPad drawing), co-published by the artist (with their blindstamp) and Taschen, Berlin, the iPad drawing unframed. I. 43.8 x 33 cm. (17 1/4 x 13 in.) S. 55.9 x 43.2 cm. (22 x 17 in. ) book 71.1 x 50.8 x 8.9 cm. (28 x 20 x 3 1/2 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
115. Henry Moore
1898-1986
Two Reclining Figures, 1977/78 Etching and aquatint, on Arches paper, with full margins. Signed and numbered 54/100 in pencil (there was also an edition of 45 in Roman numerals and 20 artist’s proofs), published by Editions Georges Visat, Paris (with their blindstamp), framed. I. 30.2 x 22.7 cm (11 7/8 x 8 7/8 in.) S. 67.4 x 52 cm (26 1/2 x 20 1/2 in.) Estimate £600-800 $770-1,000 €660-880 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Patrick Cramer 466
This lot is sold with no reserve
116. Tracey Emin
b. 1963
Beautiful Girl, 2011 Etching, with Chine-collé to Somerset paper, with full margins. Signed, titled, dated and numbered 30/100 in pencil, published by Emin International, London, unframed. I. 18 x 14.7 cm (7 1/8 x 5 3/4 in.) S. 31.8 x 27.6 cm (12 1/2 x 10 7/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • ♠ plus Buyers Premium and VAT, ARR applies*
117. Richard Hamilton
1922-2011
Guggenheim (White), 1970 Vacuum formed acrylic and cellulose. Signed and numbered ‘24’ in black ink on the reverse (the edition was 117, although an edition of 750 was planned it was not fully executed), published by xartcollection, Zurich. 59.2 x 59.2 x 10 cm (23 1/4 x 23 1/4 x 3 7/8 in.)
Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Etienne Lullin M4
118. Richard Hamilton
1922-2011
La Scala Milano, 1968 Photo-etching and screenprint in colours, on mould-made etching paper, with full margins. Signed and numbered 44/65 in pencil (there were also 5 artist’s proofs), published by Petersburg Press, London, framed. I. 25.4 x 37.3 cm (10 x 14 5/8 in.) S. 50.4 x 59.4 cm (19 7/8 x 23 3/8 in.)
Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Etienne Lullin 71
119. Richard Hamilton
1922-2011
Derek Jarman, 1996-97 Pigment transfer print in colours, on JPP mould-made paper, with full margins. Signed, titled and numbered 22/40 in pencil (there were also 4 artist's proofs), published by the artist to beneft the Elton John Aids Foundation, London, framed. I. 39.7 x 39.3 cm (155/8 x 151/ 2 in.) S. 61.1 x 57.4 cm (24 x 225/8 in.) Estimate £2,500-3,500 $3,200-4,500 €2,700-3,800 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Etienne Lullin 181
120. Richard Hamilton
1922-2011
Sof Pink Landscape, 1980 Collotype with screenprint in colours, on Ivorex paper, with full margins. Signed, titled and numbered 24/136 in pencil (there were also 14 artist’s proofs), published by Waddington Graphics, London, unframed. I. 59.3 x 82 cm (23 3/8 x 32 1/4 in.) S. 73 x 91.7 cm (28 3/4 x 36 1/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Etienne Lullin 115
121. Michael Craig-Martin
b. 1941
Ж
122. Gilbert & George
Intimate Relations, 2001
b. 1943 and b. 1942
The complete set of three screenprints in colours, on wove paper, with full margins. All signed, dated and numbered 48/50 in pencil (there were also 11 artist’s proofs), published by Alan Cristea Gallery, London, all framed. all I. 97 x 81 cm (38 1/4 x 31 7/8 in.) all S. 102.1 x 99 cm (40 1/4 x 38 7/8 in.)
Deth Kult, 2009
Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ♠ † plus Buyers Premium and VAT, ARR applies*
Including Handcufs, Safety Pin, and Sunglasses
Chromogenic print, on semi-matte paper fush-mounted to card (as issued), with full margins. Signed and numbered ‘71’ in black felt-tip pen, from the edition of 100, published by White Cube Editions, London, unframed. I. 85.4 x 60 cm (33 5/8 x 23 5/8 in.) S. 88.3 x 62.9 cm (343/4 x 243/4 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 ♠ plus Buyers Premium and VAT, ARR applies*
123. Gary Hume
b. 1962
Spring Angels, 2000
Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠ plus Buyers Premium and VAT, ARR applies*
The complete set of eight screenprints in colours, on Somerset paper, with full margins, with colophon. All signed, titled and dated in pencil, numbered ‘15’ in pencil on the colophon, from the edition of 45 (there were also 10 artist’s proofs), published by The Paragon Press, London, all unframed. all I. 108 x 86.5 cm (42 1/2 x 34 in.) all S. 127.2 x 101.6 cm (50 1/8 x 40 in.)
Literature The Paragon Press 1995-2000, pp. 276-285
124. Gary Hume
b. 1962
Portraits, 1998 The complete set of 10 screenprints in colours, on Somerset Satin paper, with full margins, with colophon and title page, the sheets loose (as issued) all contained in the original buckram-covered portfolio with printed cover. All signed and titled in pencil, numbered 29/36 in pencil on the colophon (there were also 10 artist’s proofs), published by The Paragon Press, London, all unframed.
all I. various sizes, largest 90.8 x 70 cm (35 3/4 x 27 1/2 in.) all S. various sizes, largest 108.3 x 88 cm (42 5/8 x 34 5/8 in.) portfolio 115.5 x 94 x 2.5 cm (45 1/2 x 37 x 7/8 in.) Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 ♠ plus Buyers Premium and VAT, ARR applies*
Literature The Paragon Press 1995-2000, pp. 146-156
This lot is sold with no reserve
125. Jim Dine
b. 1935
Nancy Outside in July: state V, 1978 Etching with drypoint in red-brown, with power-tool abrasion, on Kozo cream paper, with full margins. Signed, dated and numbered 23/25 in pencil (there were also 10 artist’s proofs), published by Atelier Crommelynck, Paris, unframed. I. 59.4 x 49.4 cm (23 3/8 x 19 1/2 in.) S. 91.2 x 61.8 cm (35 7/8 x 24 3/8 in.) Estimate £500-700 $640-900 €550-770 • ‡ plus Buyers Premium and VAT*
Literature Ellen D’Oench and Jean Feinberg 22
This lot is sold with no reserve
126. Jim Dine
b. 1935
Vegetables, 1970 The complete set of eight lithographs with collage in colours, on Hodgkinson handmade paper, the full sheets, with title page and colophon, the sheets loose (as issued) all contained in the original paper-covered portfolio. All signed (one with initials) and numbered 54/96 in pencil (there were also 12 artist’s proofs), published by Petersburg Press, New York, all unframed. all S. 45.5 x 41 cm (17 7/8 x 16 1/8 in.) portfolio 47.8 x 43 x 2 cm (187/8 x 167/8 x 03/ 4 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • ‡ plus Buyers Premium and VAT*
Literature Gallery Mikro 66 A-F
127. Jim Dine
b. 1935
Two Red Hearts, 1993 Woodcut and photo-engraving in colours, on two sheets of Stonehenge paper joined (as issued), with full margins. Signed, dated and numbered 69/120 in pencil (there were also 20 artist’’s proofs), published by the Takashimaya Corporation, Tokyo, framed. I. 56.2 x 90.8 cm (22 1/8 x 35 3/4 in.) S. 75.2 x 107.3 cm (29 5/8 x 42 1/4 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 ‡ plus Buyers Premium and VAT*
Literature Elizabeth Carpenter 59
This lot is sold with no reserve
128. Jim Dine
b. 1935
Complete Graphics (Three Heart Prints), 1970 The complete set of three prints including two screenprints and one lithograph with collage in colours, on various wove papers, the full sheets and with margins, the sheets loose (as issued) all contained in the original printed paper folio with accompanying printed exhibition catalogue with collage cover, in the matching slipcase. All signed in pencil, from the edition of 200, published by Galerie Mikro, Berlin, all unframed. all I. various sizes all S. approx. 21 x 22 cm (8 1/4 x 8 5/8 in.) portfolio 21.5 x 22.5 x 2.5 cm (81/2 x 87/8 x 7/8 in.) Lot 128 Estimate £500-700 $640-900 €550-770 • plus Buyers Premium and VAT*
Literature Galerie Mikro 54
Lot 127
129. Jasper Johns
b. 1930
Figure 1, from Color Numerals Series, 1969 Lithograph in colours, on Arjomari paper, with full margins. Signed and dated in purple pencil, numbered 6/40 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 69.2 x 56 cm (27 1/4 x 22 in.) S. 96.3 x 79 cm (37 7/8 x 31 1/8 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ‡ plus Buyers Premium and VAT*
Literature Gemini G.E.L. 117 Universal Limited Art Editions 60
130. Jasper Johns
b. 1930
Figure 1, from Black Numeral Series, 1968 Lithograph in colours, on Zerkall Copperplate deluxe paper, with full margins. Signed, dated and numbered 42/70 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), unframed. I. 69.5 x 56 cm (27 3/ 8 x 22 in.) S. 94.3 x 76.6 cm (37 1/ 8 x 30 1/ 8 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 plus Buyers Premium and VAT*
Literature Gemini G.E.L. 88 Universal Limited Art Editions 45
131. Jasper Johns
b. 1930
Figure 4, from Color Numerals Series, 1969 Lithograph in colours, on Arjomari paper, with full margins. Signed and dated in yellow pencil, numbered 13/40 in pencil (there were also 9 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 69.4 x 53.5 cm (27 3/8 x 21 1/8 in.) S. 97 x 79.2 cm (38 1/4 x 31 1/8 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ‡ plus Buyers Premium and VAT*
Literature Gemini G.E.L. 120 Universal Limited Art Editions 63
132. Jasper Johns
b. 1930
Figure 4, from Black Numeral Series, 1968 Lithograph in colours, on Zerkall Copperplate deluxe paper, with full margins. Signed, dated and numbered 64/70 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 69.7 x 54.3 cm (27 1/2 x 21 3/8 in.) S. 94.5 x 76.6 cm (37 1/4 x 30 1/8 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ‡ plus Buyers Premium and VAT*
Literature Gemini G.E.L. 91 Universal Limited Art Editions 48
This lot is sold with no reserve
133. James Rosenquist
1933-2017
Mirrored Flag, from Cold Light Series, 1971 Lithograph in colours with Mylar foil, on Arches paper, the full sheet. Signed, titled, dated and numbered ‘XV’ in white pencil (one of 30 in Roman numerals for U.S.F., the edition was 70 and 3 artist’s proofs), published by Graphicstudio/U.S.F., Florida (with their blindstamp), unframed. S. 74 x 57.1 cm (29 1/8 x 22 1/2 in.) Estimate £800-1,200 $1,000-1,500 €880-1,300 • ‡ plus Buyers Premium and VAT*
Literature Constance Glenn 37
134. Robert Rauschenberg
1925-2008
Scrape, from Hoarfrost Editions, 1974 Ofset lithograph in colours, on collage of paper bags, China silk, and silk chifon. Signed, dated and numbered 12/32 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles. 193 x 91.4 cm (75 7/8 x 35 7/8 in.) Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700 ‡ plus Buyers Premium and VAT*
Literature Gemini G.E.L. 575
135. Robert Rauschenberg
1925-2008
Bellini #1, 1986 Intaglio with photogravure in colours, on Arches paper, with full margins. Signed, dated and numbered 30/36 in pencil (there were also 7 artist’s proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), framed. I. 141 x 88.2 cm (55 1/2 x 34 3/4 in.) S. 147.5 x 96.7 cm (58 1/8 x 38 1/8 in.) Estimate £7,000-10,000 $9,000-12,800 €7,700-11,000 ‡ plus Buyers Premium and VAT*
136. Robert Rauschenberg 1925-2008 Rookery Mounds-Crystal, from Rookery Mounds, 1979 Lithograph, on Twinrocker handmade paper, the full sheet. Signed, dated and numbered 15/55 in pencil (there were also 11 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. S. 104 x 78.5 cm (40 7/8 x 30 7/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 ‡ plus Buyers Premium and VAT*
Literature Gemini G.E.L. 850
This lot is sold with no reserve
137. Robert Rauschenberg 1925-2008 Air Pocket, from Stoned Moon Series, 1970 Lithograph, on Arjomari paper, the full sheet. Signed, dated and numbered 5/47 in pencil (there were also 6 artist’s proofs), co-published by the artist and Gemini G.E.L., Los Angeles (with their blindstamps), framed. S. 91.6 x 129.6 cm (36 1/8 x 51 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • plus Buyers Premium and VAT*
Literature Gemini G.E.L. 203
This lot is sold with no reserve
138. Dan Flavin
1933-1996
Untitled, from Sails, 1986 Lithograph in blue with collage, on grey BFK Rives paper, the full sheet (shaped, as issued). Signed, dated and numbered from the edition of 40 in pencil, published by Rento Brattinga, Steendruckerei, Amsterdam, framed. S. 40 x 76 cm (15 3/4 x 29 7/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • plus Buyers Premium and VAT*
139. Sol LeWitt
This lot is sold with no reserve
1928-2007
Form Derived from a Cubic Rectangle (steps), 1992 Woodcut in colours, on Fukui-Kozo paper, the full sheet. Signed and numbered 39/75 in pencil (there were also 25 artist’s proofs), published by Juventudes Musicales de España, Barcelona, unframed. S. 55.8 x 75.5 cm (21 7/8 x 29 3/4 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600
140. Sol LeWitt
1928-2007
Four Diferent Orders of Printing, 1972 Screenprint in colours, on Strathmore paper, with full margins. Signed and numbered 20/20 in pencil (there were also at least 4 artist’s proofs), published by the artist, framed. I. 66 x 66 cm (25 7/8 x 25 7/8 in.) S. 76.2 x 76.2 cm (30 x 30 in.)
plus Buyers Premium and VAT*
Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 •
Literature Barbara Krakow Gallery 1992.02
plus Buyers Premium and VAT*
Literature Barbara Krakow 1972.01
Lot 138
Lot 139
Lot 140
141. Ellsworth Kelly
1923-2015
Pear II (Poire II), from Suite of Plant Lithographs, 1965-66 Lithograph, on BFK Rives paper, with full margins. Signed and numbered 74/75 in pencil (there were also 10 artist’s proofs), published by Maeght, Paris, unframed. I. 61.2 x 40.6 cm (24 1/8 x 15 7/8 in.) S. 90 x 62 cm (35 3/8 x 24 3/8 in.)
Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700 plus Buyers Premium and VAT*
Literature Richard Axsom 46
142. Ellsworth Kelly
1923-2015
Dark Blue with Red, from Suite of Twenty-Seven Color Lithographs, 1964-65 Lithograph in blue and red, on BFK Rives paper, with full margins. Signed and numbered 65/75 in pencil (there were also 10 artist’s proofs), published by Maeght, Paris, framed. I. 48.3 x 38.2 cm (19 x 15 in.) S. 89.7 x 59.8 cm (35 3/8 x 23 1/2 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 plus Buyers Premium and VAT*
Literature Richard Axsom 10
143. Ellsworth Kelly
1923-2015
Dark Blue and Red, from Suite of Twenty-Seven Color Lithographs, 1964-65 Lithograph in blue and red, on BFK Rives paper, with full margins. Signed and numbered 65/75 in pencil (there were also 6 artist’s proofs), published by Maeght, Paris, framed. I. 33.3 x 64.2 cm (13 1/8 x 25 1/4 in.) S. 60 x 89.4 cm (23 5/8 x 35 1/4 in.) Estimate £2,500-3,500 $3,200-4,500 €2,700-3,800 plus Buyers Premium and VAT*
Literature Richard Axsom 18
144. Andy Warhol
1928-1987
Flowers (Hand-Colored), 1974 Screenprint in black with hand-colouring in Dr Martin's aniline watercolour dyes, on J. Green paper, the full sheet. Signed with initials in pencil on the front, further signed, dated and numbered 99/250 in pencil on the reverse (there were also 50 artist’s proofs), co-published by Peter M. Brant, Castelli Graphics, and Multiples, Inc., New York (with their copyright inkstamp on the reverse), unframed. S. 103.7 x 69.4 cm (40 7/8 x 27 3/8 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 plus Buyers Premium and VAT*
Literature Frayda Feldman and Jörg Schellmann 111
145. Andy Warhol
1928-1987
Wrapping Paper, 1956 Ofset lithograph with hand-colouring in watercolour, on light wove paper, with full margins. With the Estate of Andy Warhol and the Visual Arts Foundation inkstamps (faded), and inscribed with an archive number 'PM 24.0015' in pencil on the reverse (not in Feldman and Schellmann), framed. I. 68 x 56.3 cm (26 3/4 x 22 1/8 in.) S. 73.7 x 58.5 cm (29 x 23 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 † plus Buyers Premium and VAT*
146. Andy Warhol
1928-1987
Marilyn (Exhibition poster for 'Warhol: The Tate Gallery'), 1971 Ofset lithograph in colours, on smooth wove paper, the full sheet. Signed in black felt-tip pen, from the edition of unknown size, published by Tate Gallery Publications, London, framed. S. 76 x 50.7 cm (29 7/8 x 19 7/8 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 plus Buyers Premium and VAT*
147. Andy Warhol
1928-1987
Electric Chair, 1971 Screenprint in colours, on wove paper, the full sheet. Signed and indistinctly dated in black ball-point pen and stamp-numbered 240/250 on the reverse (there were also 50 artist’s proofs in Roman numerals), published by Bruno Bischoferger, Zurich (with their and the printer’s copyright inkstamp on the reverse), framed. S. 89.5 x 121 cm (35 1/4 x 47 5/8 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 plus Buyers Premium and VAT*
Literature Frayda Feldman and Jörg Schellmann 78
148. Roy Lichtenstein
1923-1997
Pyramid, 1968 Screenprint in yellow and black, on lightweight board folded into a threedimensional pyramid. Signed and numbered 60/300 in pencil inside the pyramid (only approximately 50-100 were released, there were also some artist’s proofs), published by the artist. 36.2 x 50.8 x 50.8 cm (14 1/4 x 20 x 20 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 plus Buyers Premium and VAT*
Literature Mary Lee Corlett 62
149. Roy Lichtenstein
1923-1997
Landscape 5, from Ten Landscapes, 1967 Screenprint in colours on pink moiré Rowlux with blue moiré Rowlux collage, mounted to board (as issued), the full sheet. Signed, dated and numbered 39/100 in pencil on the reverse of the board (there were also 10 in Roman numerals), co-published by Original Editions and Leo Castelli Gallery, New York, framed. S. 37.7 x 45 cm (14 7/8 x 17 3/4 in.) Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700 ‡ plus Buyers Premium and VAT*
Literature Mary Lee Corlett 55
150. Roy Lichtenstein
1923-1997
Mirror #4, from Mirror Series, 1972 Linocut and screenprint in colours with embossing, on Arjomari paper, with full margins. Signed, dated and numbered 53/80 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 53.3 cm (20 7/8 in.) diameter S. 71.1 x 71.1 cm (27 7/8 x 27 7/8 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 plus Buyers Premium and VAT*
Literature Gemini G.E.L. 385 Mary Lee Corlett 109
151. Roy Lichtenstein
1923-1997
Mirror #5, from Mirror Series, 1972 Lithograph and screenprint in colours, on Arjomari paper, with full margins. Signed, dated and numbered 75/80 in pencil (there were also 10 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), framed. I. 86.8 x 61.8 cm (34 1/8 x 24 3/8 in.) S. 110.8 x 84.6 cm (43 5/8 x 33 1/4 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 plus Buyers Premium and VAT*
Literature Gemini G.E.L. 386 Mary Lee Corlett 110
152. Roy Lichtenstein
1923-1997
Inaugural Print, from Inaugural Impressions, 1977 Screenprint in colours, on Arches 88 paper, with full margins. Signed, dated and numbered 5/100 in pencil (there were also 20 artist’s proofs), published by the Democratic National Committee, for the Inauguration of President Jimmy Carter, framed. I. 40.7 x 65.6 cm (16 x 25 7/8 in.) S. 50.9 x 76.6 cm (20 x 30 1/8 in.)
Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 plus Buyers Premium and VAT*
Literature Mary Lee Corlett 151
153. Roy Lichtenstein
1923-1997
Against Apartheid, 1983 Lithograph in colours, on Arches paper, the full sheet. Signed, dated and numbered 92/100 in pencil (there were also 30 artist’s proofs), co-published by the artist and Galerie Maeght-Lelong, Paris, for the beneft of Artists of the World Against Apartheid, in cooperation with the United Nations Committee Against Apartheid, framed. S. 85 x 60.1 cm (33 1/2 x 23 5/8 in.) Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 plus Buyers Premium and VAT*
Literature Mary Lee Corlett 200
154. Keith Haring
1958-1990
Bayer Suite, 1982 The complete set of six ofset lithographs in colours, on light transparent paper, the full sheets. From the unsigned edition of 70, there were approximately 5 signed sets (not in Littmann), published by Bayer AG on the occasion of the release of the medication Sali-Adalat, all framed. all S. 29.9 x 24 cm (11 3/4 x 9 1/2 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 plus Buyers Premium and VAT*
155. Keith Haring
1958-1990
Lucky Strike: one plate, 1987 Screenprint in colours, on wove paper, with full margins. Signed, dated and numbered 4/30 in pencil (there were also 6 artist’s proofs), published by B.A.T. Suisse SA, Geneva, framed. I. 28.7 x 19.9 cm (11 1/4 x 7 7/8 in.) S. 29.7 x 21 cm (11 3/4 x 8 1/4 in.) Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 plus Buyers Premium and VAT*
Literature Klaus Littmann pp. 76-77
156. Keith Haring
1958-1990
International Youth Year, 1985 Lithograph in colours, on Arches paper, the full sheet. Signed and numbered 186/1000 in pencil, published by The World Federation of United Nations Associations, New York (with their blindstamp), with the accompanying publisher documentation, framed. S. 28 x 21.7 cm (11 x 8 1/2 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡ plus Buyers Premium and VAT*
Literature Klaus Littmann pp. 36-37
157. Keith Haring
1958-1990
Pop Shop I: one plate, 1987 Screenprint in colours, on Coventry Rag paper, with full margins. Signed, dated and numbered 90/200 in pencil (there were also 30 artist’s proofs), published by the artist, framed. I. 26.9 x 34.5 cm (10 5/8 x 13 5/8 in.) S. 30.5 x 38.1 cm (12 x 15 in.) Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 ‡ plus Buyers Premium and VAT*
Literature Klaus Littmann p. 82
158. Robert Indiana
1928-2018
The American Dream, 1997 The complete set of 30 screenprints in colours, including 6 loose and 24 bound prints (as issued), on wove paper, with full margins, with title page, text, poems by Robert Creeley, and photographic illustrations, all contained in the original black leather binding with the artist’s name in red on the front and spine. The six loose prints all signed and numbered ‘HC. 9/30’ in pencil, further numbered in pencil on the title page (an hors commerce copy, the edition was 395), published by Marco Fine Arts Contemporary Atelier, El Segundo. book 57 x 44.2 x 4 cm (22 1/2 x 17 3/8 x 1 5/8 in.)
Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 † plus Buyers Premium and VAT*
159. Robert Indiana
1928-2018
Chosen Love, 1995 Skein dyed, hand carved and hand tufed archival New Zealand woolen rug, with natural latex backing. Signed and numbered 112/175 in black ink on a fabric label on the reverse, with a further sheared signature in lower right corner, handcrafed by Master Contemporary Original Artist Rugs, New York. 245 x 247 cm (96 1/2 x 97 1/4 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 plus Buyers Premium and VAT*
160. Mel Bochner
b. 1940
Crazy (With Background Noise), 2018 Unique screenprint in colours with black enamel, on wove paper, the full sheet. Signed, dated and numbered 19/30 in pencil, from the series of unique colour variants, published by Two Palms Press, New York, to beneft the International Print Center of New York, framed. S. 55.2 x 60 cm (21 3/4 x 23 5/8 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 plus Buyers Premium and VAT*
161. Alex Katz
b. 1927
Boy with Branch I, 1975 Aquatint in colours, on Arches Cover paper, the full sheet. Signed and indistinctly numbered 59/90 in pencil (Maravell calls for an edition of 100, there were also 9 artist’s proofs), co-published by Bo Alveryd, Kavlinge, Sweden, and Marlborough Graphics, New York, unframed. S. 61.2 x 102.4 cm (24 1/8 x 40 3/8 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 plus Buyers Premium and VAT*
Literature Nicholas Maravell 77
162. Tom Wesselmann
1931-2004
Claire Nude, 1980 Lithograph and screenprint in colours, on Arches 88 paper, with full margins. Signed, dated and numbered 3/200 in pencil (there were also 25 artist’s proofs), published by Transworld Art, New York (with their blindstamp), framed. I. 63.6 x 61.2 cm (25 x 24 1/8 in.) S. 78.7 x 76.3 cm (30 7/8 x 30 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 † plus Buyers Premium and VAT*
163. Tom Wesselmann
1931-2004
Monica Sitting Elbows on Knees, from BAM III portfolio, 1991 Lithograph, on wove paper, with full margins. Signed and numbered 69/75 in pencil (there were also 16 artist’s proofs), published by Parasol Press, Ltd., New York, framed. I. 93.8 x 69 cm (36 7/8 x 27 1/8 in.) S. 115.5 x 96.5 cm (45 1/2 x 37 7/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 plus Buyers Premium and VAT*
164. Claes Oldenburg
b. 1929
London Knees, 1966 The pair of cast fexible latex sculptures coated in polyurethane with single acrylic plastic base, with accompanying set of three green clothcovered paper board folders containing postcards and reproductions related to The Knees as London Monument Project, with justifcation, all contained in the original buckram-covered travelling case with printed title and date. Each knee printed with initials and date on the underside, the justifcation signed and numbered 85/120 in pencil (there were also 10 artist’s proofs), published by Editions Alecto Ltd, London, in association with Neuendorf Verlag, Berlin, 1968. each knee 38.5 x 16.5 x 13.5 cm (151/8 x 61/2 x 53/8 in.) case 19 x 43 x 29.5 cm (7 1/ 2 x 16 7/ 8 x 11 5/ 8 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 ‡ plus Buyers Premium and VAT*
Literature Richard Axsom and David Platzker 51 Editions Alecto 677
165. Robert Longo
b. 1953
Untitled V, from Men in the Cities, 1990 Lithograph, on Arches paper, with full margins. Signed, titled ‘V’, dated and numbered 43/48 in pencil (there were also 12 artist’s proofs), published by Seibu Department Stores Ltd., Tokyo, framed. I. 82 x 54 cm (32 1/4 x 21 1/4 in.) S. 101.4 x 66 cm (39 7/8 x 25 7/8 in.) Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 ‡ plus Buyers Premium and VAT*
166. Robert Longo
b. 1953
Strong in Love (Yellow), 1989-1991 Photo-etching in black and white with aquatint and yellow ink roll, on wove paper, with full margins. Signed, dated ‘91’ and numbered ‘AP 4/5’ in pencil (a unique artist’s proof aside from the edition of 15), published by Brooke Alexander Inc., New York, framed. I. 60.5 x 90.2 cm (23 7/8 x 35 1/2 in.) S. 75.9 x 112 cm (29 7/8 x 44 1/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 plus Buyers Premium and VAT*
167. Robert Longo
b. 1953
Gun, from Hope and Optimism portfolio, 1993 Screenprint in black and silver with handcolouring in ink wash, on heavy Fabriano paper, the full sheet. Signed and dated in pencil on the front, numbered ‘VII’ in pencil on the reverse, framed. S. 75.8 x 56.5 cm (29 7/8 x 22 1/4 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 plus Buyers Premium and VAT*
168. Robert Longo
b. 1953
Untitled II, from Men in the Cities, 1990 Lithograph, on Arches paper with embossing, with full margins. Signed, titled ‘II’, dated and numbered 43/48 in pencil (there were also 12 artist’s proofs), published by Seibu Department Stores Ltd., Tokyo, framed. I. 34 x 75 cm (13 3/8 x 29 1/2 in.) S. 66 x 101.3 cm (25 7/8 x 39 7/8 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 ‡ plus Buyers Premium and VAT*
This lot is sold with no reserve
169. Richard Estes
b. 1932
Ten Doors, from Urban Landscapes, 1972 Screenprint in colours, on Schoeller’s Parole paper, with full margins. Signed and numbered 37/75 in pencil (there were also 25 artist’s proofs), published by Parasol Press, Ltd., New York, framed. I. 36.8 x 54.4 cm (14 1/2 x 21 3/8 in.) S. 50 x 70 cm (19 5/8 x 27 1/2 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • ‡ plus Buyers Premium and VAT*
Literature John Arthur pp. 112-113
This lot is sold with no reserve
170. Richard Estes
b. 1932
Arch, St. Louis, from Urban Landscapes, 1972 Screenprint in colours, on Schoeller’s Parole paper, with full margins. Signed and numbered 65/75 in pencil (there were also 25 artist’s proofs), published by Parasol Press, Ltd., New York, framed. I. 37.5 x 61 cm (14 3/4 x 24 in.) S. 50 x 70 cm (19 5/8 x 27 1/2 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • ‡ plus Buyers Premium and VAT*
Literature John Arthur pp. 112-113
171. Richard Estes
b. 1932
Urban Landscapes No. 3, 1981
Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 plus Buyers Premium and VAT*
The complete set of eight screenprints in colours, on Fabriano Cottone paper, with full margins, with colophon, the sheets loose (as issued) all contained in the original olive green cloth-covered portfolio. All signed and numbered 198/250 in pencil (there were also 15 artist’s proofs), published by Parasol Press, Ltd., New York, all unframed. all I. approx. 35.6 x 51 cm (14 x 20 1/ 8 in.) all S. 50 x 70 cm (19 5/8 x 27 1/2 in.) portfolio 75.5 x 54 x 3.5 cm (293/ 4 x 211/ 4 x 13/8 in.)
Literature John Arthur pp. 121-123
172. Ed Ruscha
b. 1937
Eleven Pieces of Cheese, from Various Cheeses, 1976 Lithograph in colours, on Arches 88 paper, the full sheet. Signed and numbered 3/50 in pencil on the reverse (there were also 11 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), unframed. S. 37.5 x 52.7 cm (14 3/4 x 20 3/4 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 plus Buyers Premium and VAT*
Literature Gemini G.E.L. 721 Siri Engberg 91
173. Ed Ruscha
b. 1937
Cheese Circle, from Various Cheeses, 1976 Lithograph in colours, on Arches 88 paper, the full sheet. Signed and numbered 4/8 in pencil on the reverse (there were also 5 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), unframed. S. 66 x 74.2 cm (25 7/8 x 29 1/4 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 plus Buyers Premium and VAT*
Literature Gemini G.E.L. 724 Siri Engberg 94
174. Ed Ruscha
b. 1937
Spooning, 1973 Lithograph with hand-colouring in Revlon Blush of Mauve lipstick by Samantha Eggar, on Arches paper, with full margins. Signed, titled, dated and numbered ‘A.P. 9’ in pencil, the edition was 20 numbered AP 1 - AP 20 (there were also 7 artist’s proofs numbered AP 21-27), published by Brooke Alexander, Inc., New York, unframed. I. 15.8 x 24.8 cm (6 1/4 x 9 3/4 in.) S. 30.9 x 40 cm (12 1/8 x 15 3/4 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 plus Buyers Premium and VAT*
Literature Siri Engberg 72
This lot is sold with no reserve
175. Ed Ruscha
b. 1937
It’s Recreational, from World Series, 1982 Lithograph in colours (faded), on Arches 88 paper, the full sheet. Signed, dated and numbered 18/40 in pencil (there were also 11 artist’s proofs), published by Gemini G.E.L., Los Angeles (with their blindstamps), unframed. S. 63.3 x 86.7 cm (24 7/8 x 34 1/8 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 • ‡ plus Buyers Premium and VAT*
Literature Gemini G.E.L. 1008 Siri Engberg 118
176. John Baldessari
1931-2020
Throwing Three Balls in the Air to Get a Straight Line (Best of Thirty-Six Attempts), 1973 The complete set of 12 ofset lithographs in colours, on coated stock paper, with full margins, with title page and justifcation, the sheets loose (as issued) all contained in the original blue letter-pressed paper folder with die-cut window opening. From the edition of 2000 (there was also an edition of 500 signed by the publishers and numbered), co-published by Edizioni Giampaolo Prearo and Galleria Toselli, Milan. all I. 17.8 x 26 cm (7 x 10 1/4 in.) all S. 24.4 x 32.3 cm (9 5/8 x 12 3/4 in.) portfolio 25 x 33 cm (9 7/8 x 12 7/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 plus Buyers Premium and VAT*
177. Julie Mehretu
b. 1970
Untitled (Grey Area), 2009 Drypoint, with Chine-collé to Somerset paper, with full margins, contained in the original charcoal card folder with printed artist’s name. Signed, dated and numbered ‘A.P. 13/15’ in pencil (an artist’s proof, the edition was 40), published by Gemini G.E.L., Los Angeles (with their blindstamps), unframed. I. 20.1 x 25 cm (7 7/8 x 9 7/8 in.) S. 30.3 x 35.3 cm (11 7/8 x 13 7/8 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 plus Buyers Premium and VAT*
This lot is sold with no reserve
178. Paul McCarthy
b. 1945
Untitled (Finger Wave), 2007 Ofset lithograph in colours, on wove paper, the full sheet. Signed and numbered 9/100 in pencil, published by Vrienden van het S.M.A.K., Ghent, on the occasion of the exhibition The Head Shop/ Shop Head, 2008, framed. S. 29.1 x 41.4 cm (11 1/2 x 16 1/4 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • plus Buyers Premium and VAT*
179. Agnes Martin
1912-2004
Paintings and Drawings 1974-1990, 1991 The complete set of 10 lithographs in colours, on frm transparency paper, with full margins, with text, the sheets loose (as issued) all contained in the original grey card portfolio with printed uppers. From the edition of 2500 copublished by Nemela & Lenzen GmbH, Monchengladbach and Stedelijk Museum, Amsterdam for Agnes Martin’s 1991 retrospective at the Stedelijk Museum. all I. approx. 23 x 23 cm (9 x 9 in.) all S. 30 x 30 cm (11 3/4 x 11 3/4 in.) portfolio 31 x 31 x 2 cm (121/ 4 x 121/ 4 x 03/ 4 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 † plus Buyers Premium and VAT*
180. Marina Abramović
b. 1946
The Urgent Dance, 1996 Screenprint in colours, on wove paper, the full sheet. Signed, titled, dated and numbered 3/150 in pencil, published by Vrienden van het S.M.A.K., Ghent, framed. S. 127.5 x 74.1 cm (50 1/4 x 29 1/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 ♠ plus Buyers Premium and VAT, ARR applies*
This lot is sold with no reserve
181. Michelangelo Pistoletto b. 1933 Autoritratto (Self-Portrait), 1970 Screenprint, on nickel-plated copper, afxed to a wood support (as issued). Incised with signature and numbering 28/100 on the reverse, further numbered in black ink on a label afxed to the reverse, published by Gabriele Mazzotta Editore, Milan. 50 x 35 cm (19 5/8 x 13 3/4 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡ • ♠ plus Buyers Premium and VAT, ARR applies*
Please see department for condition
182. Allora & Calzadilla United States b. 1974 Cuba b. 1971 Intermission, 2007 Screenprint, on Magnani Pescia paper, with full margins. Signed, titled, dated and numbered 12/20 in pencil on the reverse, published by The CCA Wattis Institute for Contemporary Arts, San Francisco, on the occasion of the exhibition Apocalypse Now: The Theater of War, 2008, framed. I. 40.5 x 50.8 cm (15 7/8 x 20 in.) S. 56.5 x 66.8 cm (22 1/4 x 26 1/4 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600
This lot is sold with no reserve
183. Dirk Braeckman
b. 1958
VdV, 2007 Chromogenic print, on photo paper, with full margins. Signed, titled, dated and numbered 9/100 in pencil on the reverse, published by Vrienden van het S.M.A.K., Ghent, framed. I. 26.7 x 35.7 cm (10 1/2 x 14 in.) S. 33 x 48.4 cm (12 7/8 x 19 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • ♠ plus Buyers Premium and VAT, ARR applies*
plus Buyers Premium and VAT*
Lot 182 Lot 183
Lot 184
184. Michaël Borremans
b. 1963
The Spanking, 2007 Ofset lithograph in colours, on heavy wove paper, the full sheet. Signed, titled, dated and numbered 62/100 in pencil, published by Vrienden van het S.M.A.K., Ghent, framed. S. 17 x 23.5 cm (6 3/4 x 9 1/4 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 ♠ plus Buyers Premium and VAT, ARR applies*
185. Georg Herold
b. 1947
Caviar: plates II-V, 1991 Four heliogravures, with Chine-collé to wove paper, with full margins. All signed in pencil, from the edition of unknown size, published by Grifelkunst-Vereinigung, Hamburg, all unframed. all I. 21.4 x 20.8 cm (8 3/8 x 8 1/4 in.) all S. 45 x 35 cm (17 3/4 x 13 3/4 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 ♠ plus Buyers Premium and VAT, ARR applies*
186. Sigmar Polke
1941-2010
Ohne Titel (Révolution, 200 ans après) [Untitled (Revolution, 200 years later)], 1989 Lithograph in colours, on Arches paper, the full sheet. Signed, dated and annotated ‘e.a.’ in pencil (one of approximately 20 artist’s proofs, the edition was 100), published by Association du Ministère de la Culture, FNAC, Paris, unframed. S. 60.4 x 85.3 cm (23 3/4 x 33 5/8 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Jürgen Becker and Claus von der Osten 82
187. Mario Merz
1925-2003
Da un erborio raccolto nel 1979 in Woga-Woga, Australia (From a herb collected in 1979 in Woga-Woga, Australia), 1979-1989 The complete set of 14 lithographs in colours, on textured wove paper, with full margins, with colophon and original red/ brown fabric-covered portfolio boards with printed artist’s name and title. Signed and numbered 47/120 in pencil on one sheet (there was also an edition of 30 in Roman numerals), published by Marco Noire, Turin, Italy, all framed. all I. various sizes all S. 46 x 33.8 cm (18 1/8 x 13 1/4 in.) boards 46.6 x 34.5 cm (18 3/8 x 13 5/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 ♠ plus Buyers Premium and VAT, ARR applies*
188. Various Artists Stedelijk Museum Porfolio, 2006-07 The complete set of 10 prints, in various media and on various supports, the full sheets and with margins, with title page and texts, the sheets loose (as issued) all contained in the original grey linen-covered portfolio with printed title. Each signed, one titled, most dated, and all either numbered ‘AP 13/20’ or annotated ‘AP’ or ‘EA’ in pencil on the front or reverse (an artist’s proof set, the edition was 100), published by The Stedelijk Museum, Amsterdam, all unframed. all I. various sizes all S. various sizes, largest 105 x 74.8 cm (41 3/8 x 29 1/2 in.) portfolio 77.5 x 110.5 x 3 cm (30 1/2 x 43 1/2 x 1 1/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠ plus Buyers Premium and VAT, ARR applies*
189. Gerhard Richter
b. 1932
Kanarische Landschafen I (Canary Landscapes I), 1971 The complete set of six heliogravures in colours, on ivory rag paper, with full margins, the sheets loose (as issued) all contained in the original white cardboard folio. All signed and numbered 89/100 in pencil, further numbered in pencil on the reverse of the folio (there were also 10 hors commerce sets), published by Galerie Heiner Friedrich, Munich, all unframed. all I. various all S. 39.9 x 50 cm (15 3/4 x 19 5/8 in.) folio 52.5 x 42.5 cm (20 5/8 x 16 3/4 in.)
Estimate £7,000-9,000 $9,000-11,600 €7,700-9,900 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Hubertus Butin 39
This lot is sold with no reserve
190. Gerhard Richter
b. 1932
Landschaf I (Landscape I), 1971 Heliogravure in colours, on ivory rag paper, with full margins. Signed, dated and numbered 69/100 in pencil (there were also 10 trial proofs), published by Galerie Heiner Friedrich, Munich, unframed. I. 20.2 x 13.6 cm (7 7/ 8 x 5 3/ 8 in.) S. 50 x 40.1 cm (19 5/ 8 x 15 3/4 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Hubertus Butin 34
191. Gerhard Richter
b. 1932
Hood, 1996 Ofset lithograph in colours, on white handmade Japanese paper, with full margins. Signed, dated and numbered 2/50 in pencil (there were also 20 artist’s proofs in Roman numerals), published by Anthony d’Ofay Gallery, London, framed. I. 17.8 x 25.3 cm (7 x 9 7/8 in.) S. 43.6 x 44 cm (17 1/8 x 17 3/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
Literature Hubertus Butin 88
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192. Gerhard Richter
b. 1932
Abstraktes Bild (P1), 1990/2014 Chromogenic print, fush-mounted to aluminium with metal strainer on the reverse (as issued). This facsimile object is unsigned and numbered 320/500 in black ink on the reverse, published by Heni Productions, London. 92 x 126 cm (36 1/4 x 49 5/8 in.) Estimate £8,000-12,000 $10,300-15,400 €8,800-13,200 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Heni Productions P1
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193. Gerhard Richter
b. 1932
Haggadah (P2), 2006/2014 Chromogenic print, fush-mounted to aluminium with metal strainer on the reverse (as issued). This facsimile object is unsigned and numbered 320/500 in black ink on the reverse, published by Heni Productions, London. 100 x 100 cm (39 3/8 x 39 3/8 in.) Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Heni Productions P2
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194. Gerhard Richter
b. 1932
Bouquet (P3), 2009/2014 Chromogenic print, fush-mounted to aluminium with metal strainer on the reverse (as issued). This facsimile object is unsigned and numbered 320/500 in black ink on the reverse, published by Heni Productions, London. 60 x 88.4 cm (23 5/8 x 34 3/4 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Heni Productions P3
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195. Gerhard Richter
b. 1932
Fence (P13), 2015 Giclée print, fush-mounted to aluminium with metal strainer on the reverse (as issued). This facsimile object is unsigned and numbered 460/500 in black ink on the reverse, published by The Serpentine Galleries, London. 35.6 x 27 cm (14 x 10 5/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Heni Productions P13
196. Imi Knoebel
b. 1940
Der Deutsche 9 Ed. (The German 9 Ed.), 2009/2011 Acrylic in colours, on seven constructed and collaged plastic panels, mounted to aluminium (as issued). Titled, dated and numbered 4/9 in black ink on the reverse of the plastic panels, framed. I. 30 x 25 cm (11 3/4 x 9 7/8 in.) S. 39 x 34 cm (15 3/8 x 13 3/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠ plus Buyers Premium and VAT, ARR applies*
197. Imi Knoebel
b. 1940
Der Deutsche Ed. (The German Ed.), 2009/2011 Acrylic in colours, on seven constructed and collaged plastic panels, mounted to aluminium (as issued). Titled, dated and numbered 7/9 in black ink on the reverse of the plastic panels, framed. I. 30 x 25 cm (11 3/4 x 9 7/8 in.) S. 38.7 x 33.8 cm (15 1/4 x 13 1/4 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠ plus Buyers Premium and VAT, ARR applies*
198. Imi Knoebel
b. 1940
Face 96 Ed., 2003/2016 Acrylic in colours, on seven constructed and collaged plastic panels, mounted to aluminium (as issued). Signed, titled, dated and numbered 5/5 in black ink on the reverse of the plastic panels, framed. I. 36 x 36 cm (14 1/8 x 14 1/8 in.) S. 45.2 x 45.2 cm (17 3/4 x 17 3/4 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ♠ plus Buyers Premium and VAT, ARR applies*
199. Imi Knoebel
b. 1940
Face 93 Ed., 2003/2016 Acrylic in colours, on seven constructed and collaged plastic panels, mounted to aluminium (as issued). Signed, titled, dated and numbered 5/5 in black ink on the reverse of the plastic panels, framed. I. 36 x 36 cm (14 1/8 x 14 1/8 in.) S. 45.3 x 45.3 cm (17 7/8 x 17 7/8 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ♠ plus Buyers Premium and VAT, ARR applies*
This lot is sold with no reserve
200. John Armleder
b. 1948
Corolles, 2008 Lithograph in colours, on Arches paper, the full sheet. Signed, titled, dated and numbered 29/45 in pencil on the reverse (there were also 5 artist’s proofs), co-published by World House Editions, Middlebury, Connecticut, and Edition Copenhagen, Denmark, unframed. S. 100.2 x 69 cm (39 1/2 x 27 1/8 in.) Estimate £500-700 $640-900 €550-770 • plus Buyers Premium and VAT*
201. John Armleder
b. 1948
Lanterne Chinoise (Chinese Lantern), 2008 The complete set of fve lithographs in colours, on Arches paper, the full sheets and with margins, with colophon, the sheets loose (as issued) all contained in the original white fabric-covered portfolio with embossed artist’s name and title. All signed, titled, dated and numbered 29/40 in pencil on the reverse (there were also 3 artist’s proofs), co-published by World House Editions, Middlebury, Connecticut and Edition Copenhagen, Denmark, all unframed. all S. 76.4 x 56.6 cm (30 1/8 x 22 1/4 in.) portfolio 79 x 59 cm (31 1/8 x 23 1/4 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 plus Buyers Premium and VAT*
202. Antony Gormley
b. 1950
Breathing Room, 2007 Lithograph, on Arches paper, the full sheet. Signed, titled, dated and numbered 34/40 in pencil on the reverse (there were also 4 artist’s proofs), co-published by World House Editions, Middlebury, Connecticut and Edition Copenhagen, Denmark, unframed. S. 78 x 121.5 cm (30 3/4 x 47 7/8 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 ♠ plus Buyers Premium and VAT, ARR applies*
203. Antony Gormley
b. 1950
Space, 2007 Lithograph, on Arches paper, the full sheet. Signed, dated and numbered 34/40 in pencil on the reverse (there were also 4 artist’s proofs), co-published by World House Editions, Middlebury, Connecticut, and Edition Copenhagen, Denmark, unframed. S. 111.8 x 77.3 cm (44 x 30 3/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠ plus Buyers Premium and VAT, ARR applies*
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204. After Francis Bacon
1909-1992
Study for Head of Lucian Freud, 1967/2015 Diasec mounted giclée print in colours, on Alu Dibond support. With printed signature on a label afxed to the reverse and numbered 384/500 in black ink on the reverse, co-published by The Estate of Francis Bacon and Heni Productions, London, framed. S. 35.5 x 30.5 cm (13 7/ 8 x 12 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Heni Productions Q3
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205. Damien Hirst
b. 1965
Savoy, 2018 Giclée print in colours, fush-mounted to aluminium with metal strainer on the reverse (as issued). Signed in pencil on a label afxed to the reverse and numbered 69/100 in black ink on the reverse (there were also 10 artist’s proofs), published by Heni Productions, London. 90 x 90 cm (35 3/8 x 35 3/8 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Heni Productions H5-8
206. Damien Hirst
b. 1965
Science Xmas Butterfy Print, 2010 Foil-block print in colours, on Arches 88 paper, with full margins. Signed, numbered 70/150 and dedicated ‘for Alison’ in pencil, stamped ‘Happy Christmas 2010’ in red ink, published by Other Criteria, London, framed. I. 47.5 x 42.6 cm (18 3/4 x 16 3/4 in.) S. 72.2 x 51.1 cm (28 3/8 x 20 1/8 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 ♠ plus Buyers Premium and VAT, ARR applies*
207. Damien Hirst
b. 1965
Aurous Iodide, 2009 Screenprint in colours with gold glitter, on wove paper, with full margins. Signed, numbered 55/150 and dedicated ‘for Alison xxx’ in pencil (there were also 10 artist’s proofs), published by Other Criteria, London, framed. I. 76.4 x 56.1 cm (30 1/8 x 22 1/8 in.) S. 98 x 76 cm (38 5/8 x 29 7/8 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ♠ plus Buyers Premium and VAT, ARR applies*
208. Damien Hirst
b. 1965
For the Love of God, 2009 Screenprint in colours with diamond dust, on wove paper, the full sheet. Signed and numbered 122/1000 in white pencil, published by Other Criteria, London, framed. S. 32.6 x 24 cm (12 7/8 x 9 1/2 in.) Estimate £2,500-3,500 $3,200-4,500 €2,700-3,800 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
209. Damien Hirst
b. 1965
For the Love of God, Beyond Belief, 2006-07 The pair of etchings, on wove paper, with full margins. For The Love of God signed in pencil and dedicated ‘for Alison xxx’, both prints numbered 129/300 in pencil, Beyond Belief annotated ‘A.C.’ in pencil, from a series gifed to Damien Hirst’s employee’s in 2007 who worked on Beyond Belief and For The Love of God, the two prints in one frame. both I. 25.1 x 17.6 cm (9 7/8 x 6 7/8 in.) both S. approx. 34.5 x 26.4 cm (135/8 x 103/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 ♠ plus Buyers Premium and VAT, ARR applies*
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210. Harland Miller
b. 1964
Incurable Romantic Seeks Dirty Filthy Whore, 2011 Inkjet print in colours, on Somerset Satin paper, the full sheet. Signed and numbered 9/35 in pencil, published by Other Criteria, London, framed. S. 42 x 33.6 cm (16 1/2 x 13 1/4 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 ♠ plus Buyers Premium and VAT, ARR applies*
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211. Harland Miller
b. 1964
Love Conquers Nothing, 2011 Inkjet print in colours, on Somerset Satin paper, the full sheet. Signed and numbered 9/35 in pencil, published by Other Criteria, London, framed. S. 42 x 33.7 cm (16 1/2 x 13 1/4 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 ♠ plus Buyers Premium and VAT, ARR applies*
212. Jonas Wood
b. 1977
Paintings and Drawings Collage, 2015 Uniquely collaged paper with coloured pencil on exhibition catalogue. Signed, dated and numbered ‘AP 2/2’ in black felt-tip pen inside the front cover (an artist’s proof, the edition was 10), published by David Kordansky Gallery, Los Angeles on the occasion of the exhibition Jonas Wood, framed. 34 x 25 x 1 cm (13 3/8 x 9 7/8 x 3/8 in.) Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700 ‡ plus Buyers Premium and VAT*
213. Jonas Wood
b. 1977
VOTE, 2018 Screenprint in colours, on Coventry Rag paper, the full sheet. Signed, dated and numbered 241/300 in pencil (there were also 10 artist’s proofs), co-published by WKS Editions, Los Angeles & Karma, New York for Downtown for Democracy, New York, unframed. S. 40 x 25.3 cm (15 3/4 x 9 7/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 plus Buyers Premium and VAT*
214. Lawrence Weiner
b. 1942
In a Whirl, 2008 Lithograph in colours, on Arches paper, with full margins. Signed with initials, dated, numbered 4/50 and inscribed ‘København’ in pencil, published by Edition Copenhagen, Denmark, unframed. I. 70 x 48.5 cm (27 1/2 x 19 1/8 in.) S. 76.5 x 55.6 cm (30 1/8 x 21 7/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 plus Buyers Premium and VAT*
215. David Shrigley
b. 1968
Fucking Ace, 2018 Screenprint in colours, on Somerset paper, with full margins. Signed with initials, dated and numbered 21/125 in pencil on the reverse, published by Jealous Gallery, London, unframed. I. 72.2 x 54.3 cm (28 3/8 x 21 3/8 in.) S. 76 x 56 cm (29 7/8 x 22 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 ♠ plus Buyers Premium and VAT, ARR applies*
216. David Shrigley
b. 1968
Fucking Ace, 2018 Linocut, on Somerset paper, the full sheet. Signed with initials, dated and numbered 66/125 in pencil (there were also 4 artist's proofs), published by Schaefer Grafk, Copenhagen, unframed. S. 76 x 56 cm (29 7/8 x 22 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 ♠ plus Buyers Premium and VAT, ARR applies*
217. David Shrigley
b. 1968
I’m Sorry For Being Awful, 2018 Screenprint in colours, on Somerset paper, the full sheet. Signed with initials, dated and numbered 40/125 in pencil on the reverse (there were also 20 artist’s proofs), published by Counter Editions, London, unframed. S. 76 x 56 cm (29 7/8 x 22 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 ♠ plus Buyers Premium and VAT, ARR applies*
218. Grayson Perry
b. 1960
Piggy Bank, 2017 White ceramic piggy bank painted in blue and glazed, with rubber stopper, contained in the original cardboard box. With artist’s logo on the underside, from the edition of unknown size, published by The Serpentine Galleries, London. 9 x 21 x 9 cm (3 1/2 x 8 1/4 x 3 1/2 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 ♠ plus Buyers Premium and VAT, ARR applies*
This lot is sold with no reserve Ж
219. Glenn Brown
b. 1966
Untitled, 2004 Giclée print in colours, on Superdry Satin paper, reverse mounted to Plexiglas (as issued), with full margins. Signed and numbered 139/200 in black ink on the reverse (there were no recorded artist’s proofs), published by The Serpentine Gallery, London, framed. I. 57.2 x 37.2 cm (22 1/2 x 14 5/8 in.) S. 73.6 x 53.3 cm (28 7/8 x 20 7/8 in.) Estimate £800-1,200 $1,000-1,500 €880-1,300 • ♠ plus Buyers Premium and VAT, ARR applies*
220. Chris Ofli
b. 1968
Ritual & Desire, 2009 Lithograph in colours, on Arches paper, the full sheet. Signed, titled, dated and numbered 4/60 in pencil, published by Edition Copenhagen, Denmark, unframed. S. 100 x 69 cm (39 3/8 x 27 1/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 ♠ plus Buyers Premium and VAT, ARR applies*
221. Genieve Figgis
b. 1972
Adam & Eve, 2019 Giclée print in colours, on Hahnemühle paper, with full margins. Signed, dated and numbered 116/150 in pencil (there were also 25 artist’s proofs), published by the Irish Museum of Modern Arts, Dublin, on the occasion of the exhibition Desire: A Revision from the 20th Century to the Digital Age, framed. I. 67.6 x 54.1 cm (26 5/8 x 21 1/4 in.) S. 70 x 56.5 cm (27 1/2 x 22 1/4 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 ♠ plus Buyers Premium and VAT, ARR applies*
222. Julian Opie
b. 1958
Landscape?, 1998-99 Screenprint in colours, on Somerset Satin paper, the full sheet. Signed, dated and numbered 30/40 in pencil on the reverse (there were also 10 artist’s proofs), published by Alan Cristea Gallery, London, framed. S. 61.1 x 88 cm (24 x 34 5/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Alan Cristea Gallery 12
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223. Julian Opie
b. 1958
Luc and Ludivine Get Married (6), 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 felt-tip pen and numbered 7/10 (printed) on a label afxed to the reverse of one 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 $3,900-6,400 €3,300-5,500 † ♠ plus Buyers Premium and VAT, ARR applies*
Literature Alan Cristea 112
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224. Julian Opie
b. 1958
Luc and Ludivine Get Married (14), 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 felt-tip pen and numbered 7/10 (printed) on a label afxed to the reverse of one 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 $3,900-6,400 €3,300-5,500 † ♠ plus Buyers Premium and VAT, ARR applies*
Literature Alan Cristea 120
225. Julian Opie
b. 1958
Telephone, from Melbourne Statuettes, 2018 Patinated black bronze statuette on Crema Grey Light stone base. Signed in black felt-tip pen and numbered 5/25 (printed) on a label afxed to the underside, published by Alan Cristea Gallery, London. 52.7 x 18.1 x 12 cm (20 3/4 x 7 1/8 x 4 3/4 in.) Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
226. Julian Opie
b. 1958
Boat 2, from Nature 1, 2015 Aluminium profle with inset hanging fxing, powder-coated in satin black. Incised with signature and numbering 17/25 on the reverse (there were also 7 artist’s proofs), published by Alan Cristea Gallery, London. 28 x 79 x 0.4 cm (11 x 31 1/8 x 0 1/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Alan Cristea 287
227. Julian Opie
b. 1958
Boat 4, from Nature 1, 2015 Aluminium profle with inset hanging fxing, powder-coated in satin black. Incised with signature and numbering 17/25 on the reverse (there were also 7 artist’s proofs), published by Alan Cristea Gallery, London. 42 x 79 x 0.4 cm (16 1/2 x 31 1/8 x 1/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Alan Cristea 289
228. Julian Opie
b. 1958
Crow Turning, 2018 Continuous computer animation on LCD screen, with all electrical components and mounting hardware, all contained in the original cardboard box with gallery label. Signed in black felt-tip pen and numbered 6/20 (printed) on a label afxed to the reverse (there were also 5 artist’s proofs), published by Alan Cristea Gallery, London. 32.5 x 33.5 x 15 cm (12 3/4 x 13 1/4 x 5 7/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠ plus Buyers Premium and VAT, ARR applies*
229. Julian Opie
b. 1958
The Gallery Staf 3, 2010 Screenprint, on glass. Signed in black felttip pen and numbered 8/20 (printed) on the accompanying label (there were also 5 artist’s proofs), published by Alan Cristea Gallery, London, in the original black wood frame specifed by the artist. framed 57.5 x 93.5 x 6.5 cm (22 5/8 x 36 3/4 x 2 1/2 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 † ♠ plus Buyers Premium and VAT, ARR applies*
Literature Alan Cristea 153
230. Julian Opie
231. Julian Opie
b. 1958
b. 1958
Amelia, 2018
Twenty Six Portraits, 2006
Lenticular acrylic panel comprised of four inkjet prints in colours, printed directly onto 20 lpi lenticular animating lenses, back mounted with card, contained (as issued) within an envelope in the accompanying exhibition catalogue with lenticular cover. Signed in black felt-tip pen and numbered 4/50 (printed) on the title page of the catalogue, published on the occasion of the exhibition Julian Opie at the National Gallery of Victoria, Melbourne. lenticular 27 x 15.2 cm (10 5/8 x 6 in. ) book 29.2 x 25.4 x 3.2 cm (11 1/2 x 10 x 1 1/4 in. )
The complete book of 26 prints in colours, comprised of 16 lithographs bound (as issued), fve Lambda prints and fve screenprints tipped-in (as issued), on wove paper, the full sheets, with text by the artist, bound in the original cloth cover, contained in the original navy silkcovered slipcase. Signed and numbered ‘AP XXIV/L’ in pencil on the justifcation page (one of 50 artist’s proofs, the edition was 250), published by Alan Cristea Gallery, London. 42.6 x 30.4 x 2 cm (16 3/4 x 11 7/8 x 0 3/4 in.)
Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠
Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠ plus Buyers Premium and VAT, ARR applies*
Literature Alan Cristea Gallery 95
plus Buyers Premium and VAT, ARR applies*
Lot 231
232. Invader
b. 1969
Invasion (Silver), 2009 Screenprint with embossing and foil stamp, on wove paper, with full margins. Signed, dated and numbered 11/50 in pencil, published by Pictures on Walls, London (with their blindstamp), framed. I. 19.5 x 28.5 cm (7 5/8 x 11 1/4 in.) S. 29.7 x 41.9 cm (11 3/4 x 16 1/2 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 ♠ plus Buyers Premium and VAT, ARR applies*
233. Invader
b. 1969
Invasion Kit #14 (3D Vision), 2012 Multiple comprised of 106 ceramic and 2 glass tiles, contained in the original sealed foil packaging. Signed in blue and red ink, and numbered 188/200 in back ink on the instruction label afxed to the reverse, published by the artist. 18 x 24 cm (7 1/8 x 9 1/2 in.) Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700 ‡ ♠ plus Buyers Premium and VAT, ARR applies*
234. Daniel Arsham
b. 1980
235. Daniel Arsham
b. 1980
Future Relic 07 (Cassette Player), 2017
Future Relic D.I.O.R. Eroded Letters, 2020
Cast multiple in plaster and crushed glass, contained in the original foam-lined presentation box. Numbered 349/500 (printed) on a label afxed to the box, published by Daniel Arsham Studio, New York. multiple 14.6 x 14.6 x 12.7 cm (53/4 x 53/4 x 5 in.) box 21.5 x 21 x 21 cm (81/2 x 81/ 4 x 81/ 4 in.)
Cast multiple in hydrostone with handapplied quartz crystals, in four parts, with accompanying gloves, sand-timer, and clip removal tool, all contained in the original foam-lined ‘DIOR’ printed wooden crate with artist’s name. Numbered 97/250 in black felt-tip pen on the accompanying Certifcate of Authenticity, co-published by Daniel Arsham Studio, New York and DIOR. overall 15.3 x 56 x 6.4 cm (6 x 22 x 21/2 in.) crate 50 x 43 x 43 cm (195/8 x 167/8 x 167/8 in.)
Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 plus Buyers Premium and VAT*
Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 plus Buyers Premium and VAT*
236. Ai Weiwei
b. 1957
Artist’s Hand, 2017 Cast urethane resin multiple with electroplated rhodium, contained in the original cardboard presentation box. With incised signature on the underside, from the edition of 1000, published by the Public Art Fund, USA in collaboration with eBay for Charity to beneft the exhibition Ai Weiwei: Good Fences Make Good Neighbors, New York, 2018. 12.5 x 9.5 x 10.8 cm (4 7/8 x 3 3/4 x 4 1/4 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 plus Buyers Premium and VAT*
237. Ai Weiwei
b. 1957
Study of Perspective in Glass (Alexandrite), 2018 Cast Murano glass multiple, contained in the original suede lined grey cloth-covered box. Incised with signature and numbering 74/100 on the underside, further signed in black ink and numbered (printed) on the accompanying Certifcate of Authenticity, fabricated by Berengo Studio, Murano. 12 x 9.8 x 11 cm (4 3/4 x 3 7/8 x 4 3/8 in.) Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 ‡ plus Buyers Premium and VAT*
238. Yoshitomo Nara
b. 1959
Cosmic Girls, 2008 The pair of ofset lithographs in colours, on smooth wove paper, with full margins. From the unnumbered edition of 500, with the artist’s copyright (printed) on the front, published by the Baltic Centre for Contemporary Art, Gateshead, both framed. both I. 69 x 49.5 cm (27 1/8 x 19 1/2 in.) both S. 72 x 52.1 cm (28 3/8 x 20 1/2 in.) Estimate £2,500-3,500 $3,200-4,500 €2,700-3,800 ‡ plus Buyers Premium and VAT*
239. Hiroshi Sugito
b. 1970
Untitled: Five Works, 2005 Five lithographs in colours, on Arches paper, with full margins. All signed, dated and each numbered 8/20, 1/10, 18/20, 16/20 and 4/9 respectively in pencil, all framed. all I. 30 x 25 cm (11 3/4 x 9 7/8 in.) all S. 54.2 x 40.5 cm (21 3/8 x 15 7/8 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 plus Buyers Premium and VAT*
240. KAWS
b. 1974
COMPANIONSHIP IN THE AGE OF LONELINESS, 2019 Screenprint, on Arches Aquarelle paper, with full margins, with accompanying limited edition exhibition catalogue and original grey Wibalin Buckram-bound presentation box. Signed, dated and numbered 438/750 in pencil, further signed and dated in black ink and numbered (printed) on the title page of the exhibition catalogue, published by the National Gallery of Victoria, Melbourne, on the occasion of the exhibition KAWS: Companionship in the Age of Loneliness, framed. I. 27.5 x 28 cm (10 7/8 x 11 in.) S. 38.6 x 30.2 cm (15 1/4 x 11 7/8 in.) Estimate £2,500-3,500 $3,200-4,500 €2,700-3,800 ‡ plus Buyers Premium and VAT*
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241. KAWS
b. 1974
SMALL LIE (BROWN); SMALL LIE (BLACK); and SMALL LIE (GREY), 2017 Three painted vinyl multiples, all contained in the original Medicom packaging. All with artist’s name, title, date and fabricator printed on the underside, from the limited edition, fabricated by Medicom Toy, China. all 27.5 x 12.9 x 12.2 cm (107/8 x 51/8 x 43/ 4 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 plus Buyers Premium and VAT*
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242. Zeng Fanzhi
b. 1964
Sitting Man, from Mask Series, 2006 Lithograph in colours, on BFK Rives paper, the full sheet. Signed, dated and numbered 40/60 in pencil (there were also 9 artist’s proofs), published by Fang Graphic Factory (with their blindstamps), framed. S. 110.2 x 80.5 cm (43 3/8 x 31 3/4 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 † plus Buyers Premium and VAT*
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243. Zeng Fanzhi
b. 1964
Woman and Dog, from Mask Series, 2006 Lithograph in colours, on BFK Rives paper, the full sheet. Signed, dated and numbered 40/60 in pencil (there were also 9 artist’s proofs), published by Fang Graphic Factory (with their blindstamps), framed. S. 110.3 x 80.5 cm (43 3/8 x 31 3/4 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 † plus Buyers Premium and VAT*
This lot is sold with no reserve
244. MADSAKI
b. 1974
Dora Maar au chat (Dora Maar and Cat), 2020 Ofset lithograph in colours, on smooth wove paper, the full sheet. Signed, dated and numbered 134/300 in black felt-tip pen, co-published by the artist and Kaikai Kiki Co., Ltd., Tokyo, framed. S. 82.5 x 61.6 cm (32 1/2 x 24 1/4 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 • ‡ plus Buyers Premium and VAT* ©MADSAKI/KK
This lot is sold with no reserve
245. MADSAKI
b. 1974
Portrait of an Artist (Pool with Two Figures) II (Inspired by David Hockney), 2020 Ofset lithograph in colours, on smooth wove paper, the full sheet. Signed, dated and numbered 216/300 in black felt-tip pen, co-published by the artist and Kaikai Kiki Co., Ltd., Tokyo, framed. S. 56.3 x 80.1 cm (22 1/8 x 31 1/2 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 • ‡ plus Buyers Premium and VAT*
©MADSAKI/KK
This lot is sold with no reserve Ж
246. Yayoi Kusama
b. 1929
Pumpkin (Yellow); and Pumpkin (Red), 2013 The pair of cast resin multiples painted in colours, contained in the original printed paper-covered boxes. Each with the artist’s copyright inkstamp on the underside, published by Benesse Holdings, Inc., Naoshima, Japan. both 10 x 9 x 9 cm (3 7/8 x 3 1/2 x 3 1/2 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • plus Buyers Premium and VAT*
This lot is sold with no reserve
247. Takashi Murakami
b. 1962
Field of Flowers; and Flowers of Hope, 2020 Two archival pigment prints in colours, on smooth wove paper, with full margins. Both signed, dated and each numbered 88/100 and 97/100 respectively in pencil, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. I. 37.5 x 30 cm (14 3/4 x 11 3/4 in.) S. 47 x 38 cm (18 1/2 x 14 7/8 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 • ‡ plus Buyers Premium and VAT*
Artworks ©2020 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.
This lot is sold with no reserve
248. Takashi Murakami
b. 1962
MADSAKI Flowers A Beige; MADSAKI Flowers A Black; MADSAKI Flowers A Red; and MADSAKI Flowers A Pink, 2017 Four screenprints in colours, on smooth wove paper, with full margins. All signed, dated and numbered variously from the edition of 100 in pencil, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all I. 37.5 x 30 cm (14 3/4 x 11 3/4 in.) all S. 47 x 38 cm (18 1/2 x 14 7/8 in.) Estimate £6,000-8,000 $7,700-10,300 €6,600-8,800 ‡ plus Buyers Premium and VAT*
Artworks © 2017 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.
This lot is sold with no reserve
249. Takashi Murakami
b. 1962
Kaikai-chan (BLUE eyes); and Kiki-chan (BLUE eyes), from Kaikai & Kiki, 2018 The pair of sof vinyl multiples with hand-printing in colours, each contained in the original printed cardboard boxes. Both from the unnumbered edition of unknown size, published by Kaikai Kiki Co., Ltd., Tokyo (incised with the artist’s and publisher’s copyright stamp on the underside), for Tonari no Zingoro (with their inkstamp on the underside). Kaikai 23.9 cm (9 3/8 in.) height Kiki 20 cm (7 7/8 in.) height boxes 28 x 18.5 x 12.5 cm (11 x 7 1/4 x 4 7/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • ‡ plus Buyers Premium and VAT* Artworks ©2018 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.
This lot is sold with no reserve
250. Takashi Murakami
b. 1962
Festival Flower Decoration; Space Show; Flowerball: Koi/Red-crowned Crane Vermilion; and Annular Solar Eclipse, 2016; 2017; and 2018 Four ofset lithographs in colours, on smooth wove paper, the full sheets. All signed and each numbered variously from the edition of 300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. one 46 cm (18 1/8 in.) diameter three 71 cm (27 7/8 in.) diameter Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 • ‡ plus Buyers Premium and VAT*
Artworks ©2016, 2017 and 2018 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.
This lot is sold with no reserve
251. Takashi Murakami
b. 1962
Smile On, Rainbow Flower!; Pinky Chan; and Sea Breeze Chan, 2020 Three screenprints in colours, on smooth wove paper, with full margins. All signed and each numbered 14/100, 85/100 and 80/100 respectively in pencil, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all I. 45 x 45 cm (17 3/4 x 17 3/4 in.) all S. 50 x 50 cm (19 5/8 x 19 5/8 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 • ‡ plus Buyers Premium and VAT*
Artworks ©2020 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.
This lot is sold with no reserve
252. Takashi Murakami
b. 1962
Fortune Favors the Merry Home! Kaikai and Kiki; and There’s bound to be difcult times There’s bound to be sad times But we won’t lose heart; we’d rather not cry, so laugh, we will!, 2017 Two ofset lithographs in colours with sticker additions, on smooth wove paper, the full sheets. Both signed and numbered 174/300 in silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both S. 72 x 72 cm (28 3/8 x 28 3/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • ‡ plus Buyers Premium and VAT*
Artworks ©2017 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.
This lot is sold with no reserve
253. Takashi Murakami
b. 1962
Death (Red); Hollow (Black); Enso: Facing The Pitch Black Void; Death (Black); Hollow (Red); and Enso: A World Filled With Light, 2018 Six screenprints in colours, on wove paper, with full margins. All signed, dated and each numbered variously from the edition of 100 in pencil, published by Kaikai Kiki Co., Ltd., Tokyo, all framed. all I. approx. 37.3 x 30 cm (14 5/8 x 11 3/4 in.) all S. approx. 46.7 x 38 cm (18 3/8 x 14 7/8 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 • ‡ plus Buyers Premium and VAT*
Artworks © 2018 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.
This lot is sold with no reserve
254. Takashi Murakami
This lot is sold with no reserve b. 1962
We Can Go Anywhere With Mr Fujiko F. Fujio And The Time Machine!; and There Are Many Dokodemo Doors, 2019 Two screenprints in colours, one with cold stamped gold and silver foil, on smooth wove paper, with full margins. Both signed and each numbered 94/300 and 95/300 respectively in pencil, further signed ‘Fujiko F Fujio’ (printed) in Japanese, the inventor of Doraemon, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both I. 50 x 50 cm (19 5/8 x 19 5/8 in.) both S. 60 x 60 cm (23 5/8 x 23 5/8 in.) Estimate £5,000-7,000 $6,400-9,000 €5,500-7,700 • ‡ plus Buyers Premium and VAT*
Artworks ©Fujiko-Pro and ©2019 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.
255. Takashi Murakami
b. 1962
That Sounds Good, I Hope You Can Do That, 2019 Screenprint in colours with cold stamped gold foil, on smooth wove paper, with full margins. Signed, dated and numbered 59/300 in pencil, further signed ‘Fujiko F Fujio’ (printed) in Japanese, the inventor of Doraemon, published by Kaikai Kiki Co., Ltd., Tokyo, framed. I. 46.5 x 94.1 cm (18 1/4 x 37 in.) S. 56.5 x 104.1 cm (22 1/4 x 40 7/8 in.) Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 • ‡ plus Buyers Premium and VAT*
Artworks ©Fujiko-Pro and ©2019 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.
Lot 254
Lot 255
This lot is sold with no reserve
256. Takashi Murakami
b. 1962
Doraemon: Hip Hip Hurrah!; and Doraemon’s Daily Life, 2019/20 Two screenprints in colours, on smooth wove paper, with full margins. Both signed and each numbered 116/300 and 75/300 respectively in pencil, both further signed ‘Fujiko F Fujio’ (printed) in Japanese, the inventor of Doraemon, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both I. 48 x 37.5 cm (18 7/8 x 14 3/4 in.) both S. 58.2 x 51 cm (22 7/8 x 20 1/8 in.) Estimate £4,000-6,000 $5,100-7,700 €4,400-6,600 • ‡ plus Buyers Premium and VAT*
Artworks ©Fujiko-Pro and ©2019 and 2020 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.
This lot is sold with no reserve
257. Takashi Murakami
b. 1962
Hands Clasped; and Another Dimension Brushing Against Your Hand, 2015 Two ofset lithographs in colours, on smooth wove paper, the full sheets. Both signed and each numbered 74/300 and 66/300 respectively in black ink, published by Kaikai Kiki, Co., Ltd., Tokyo, both framed. both S. 65.9 x 87.6 cm (25 7/8 x 34 1/2 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • ‡ plus Buyers Premium and VAT*
Artworks ©2015 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.
This lot is sold with no reserve
258. Takashi Murakami
b. 1962
Panda, Panda Cubs and Flowerball; and Panda Cubs Panda Cubs, 2019 Two ofset lithographs in colours, on smooth wove paper, the full sheets. Both signed and each numbered 104/300 and 72/300 respectively in black or silver ink, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. one S. 71 cm (27 7/8 in.) diameter one S. 50 x 50 cm (19 5/8 x 19 5/8 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 • ‡ plus Buyers Premium and VAT*
Artworks ©2019 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.
This lot is sold with no reserve
259. Mark Grotjahn and
Takashi Murakami b. 1968 and b. 1962 Untitled (Scarlett Lake and Indigo Blue Butterfy 826); and Untitled (Canary Yellow and Black Butterfy 830), 2008-2010 Two ofset lithographs in colours, on smooth wove paper, the full sheets. Each signed by both artists (Mark Grotjahn in black ink and Takashi Murakami in silver ink) and numbered 72/300 and 176/300 respectively in silver ink, published by Kaikai Kiki, Co., Ltd., Tokyo, both framed. both S. 70 x 55.8 cm (27 1/2 x 21 7/8 in.) Estimate £1,000-1,500 $1,300-1,900 €1,100-1,600 • ‡ plus Buyers Premium and VAT*
Artworks ©2008-2010 Takashi Murakami/Kaikai Kiki Co. Ltd., All Rights Reserved.
This lot is sold with no reserve
260. Takashi Murakami
b. 1962
My Next Smiley, 2020 Screenprint in colours, on smooth wove paper, with full margins. Signed, dated and numbered 57/100 in pencil, published by Kaikai Kiki, Co., Ltd., Tokyo, framed. I. 44 cm (17 3/8 in.) diameter S. 50.2 x 50.1 cm (19 3/4 x 19 3/4 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 • ‡ plus Buyers Premium and VAT*
Artworks ©2020 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.
This lot is sold with no reserve
261. Takashi Murakami
b. 1962
And then and then and then and then and then (Yellow); and Melting DOB A, 1999 Two ofset lithographs in colours, on smooth wove paper, the full sheets. Both signed and each numbered 153/300 and 204/300 respectively in black ink, published by Kaikai Kiki Co., Ltd., Tokyo, both framed. both S. 68 x 68 cm (26 3/4 x 26 3/4 in.) Estimate £1,500-2,000 $1,900-2,600 €1,600-2,200 • ‡ plus Buyers Premium and VAT*
Artworks ©1999 Takashi Murakami/ Kaikai Kiki Co. Ltd., All Rights Reserved.
Sale Information Auction and Viewing Location 30 Berkeley Square, London W1J 6EX Auctions Evening Sale Thursday, 10 September, 7pm (lots 1–60) Day Sale Thursday, 10 September, 1pm (lots 61–261) Viewing 3–10 September Monday–Saturday 10am–6pm Sunday 12pm–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as UK030220 or Evening & Day Editions. Absentee and Telephone Bids tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@phillips.com
Sale Department Head of Editions, Europe Robert Kennan +44 20 7318 4075 rkennan@phillips.com Head of Sale, Specialist Rebecca Tooby-Desmond +44 20 7318 4079 rtooby-desmond@phillips.com Senior Specialist Anne Schneider-Wilson +44 20 7318 4042 aschneider-wilson@phillips.com Cataloguer Louisa Earl +44 20 7318 4069 learl@phillips.com Administrator Adam Rutledge +44 20 7318 4077 arutledge@phillips.com Property Manager Surya Buck +447867 430097 sbuck@phillips.com Photographers Jean Bourbon Matt Kroenig Kent Pell Charlie Sheldon Alex Braun
Front cover Lot 19, Andy Warhol, Marilyn, 1967 (detail) Screenprint in colours © 2020 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London.
Back cover Lot 26, Andy Warhol, Chanel, from Ads, 1985 Screenprint in colours © 2020 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London.
Auctioneers Henry Highley, Principal Auctioneer Rebecca Tooby-Desmond Susanna Brockman Adam Clay Catalogues London +44 20 7901 7927 New York +1 212 940 1240 catalogues@phillips.com £22/€25/$35 at the gallery Client Accounting Richard Addington, Head of Client Accounting +44 20 7901 7914 Jason King, Client Accounting, Director +44 20 7318 4086 Buyer Accounts Heather Welham +44 20 7901 2982 Seller Accounts Surbjit Kaur +44 20 7318 4072 Client Services 30 Berkeley Square, London W1J 6EX +44 20 7318 4010 Shipping Andrew Kitt +44 20 7318 4047 Annaliese Clark +44 20 7318 4081 Rita Matos +44 20 7901 7906 Lucia Nuñez +44 20 7901 7920 Creative Services Chris Ward, Creative Services Manager Grace Neighbour, Graphic Designer
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UK Auction Buyer’s Guide The following pages are designed to offer you information on how to buy at auction at Phillips. Our staff will be happy to assist you. The Conditions of Sale and Authorship Warranty published on our website at https://phillips.com also govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship between Phillips, the seller and the buyer and describe the terms upon which items are bought at auction. A) Before The Auction Catalogues & Catalogue Entries Our catalogues provide information on the lots for sale at the auction and are available on our website at www.phillips. com and in hard copy. Lot details can also be viewed on the Phillips App. If you would like to purchase a hard copy catalogue for a Phillips auction, please visit our website or contact us at catalogues@phillips.com. Catalogue entries may include 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. In some cases we may not disclose the identity of previous owners where we are not authorised to do so. Please note that all dimensions of the property set out in the catalogue entry are approximate. Pre-auction viewings are open to the public and free of charge. The dates and times are published on our website at https://phillips.com. Our specialists are available to give advice and condition reports at viewings or by appointment. 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. Pre-sale estimates do not include the buyer’s premium or VAT. Where ‘Estimate on Request’ appears, please contact the specialist department for further information. As estimates can be subject to revision we suggest contacting us closer to the time of the auction. Estimates in non-local currencies Although the sale is conducted in pounds sterling, the pre-sale estimates in the auction catalogues may also be printed in other currencies. These estimates are approximate and provided as a courtesy to our clients. The exchange rates used are those applying on the last practical date before printing the catalogue. The rates may have changed between the time of printing the catalogue and the auction. Condition 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.
∑ 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.
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.
Calculating the Total Purchase Price If you are the successful bidder on a Lot, the total purchase price you pay is made up of the following elements:
Symbols Used In The Catalogue You may see the following symbols referenced in the catalogue. O Guaranteed Property Lots designated with the symbol O are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party. ♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the financial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be significant Phillips may choose to share the burden of that financial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. If there are competing bidders third party guarantors may also bid above any written bid. In this way the thirdparty guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee. In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fixed fee or an amount calculated by reference to the hammer price of the lot. If the thirdparty guarantor is the successful bidder Phillips will report the purchase price net of any fees paid to the third-party guarantor. ∆ 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.
Ж Property Subject to US Import Tarifs
Lots with this symbol indicate that the Property may be subject to additional tariffs upon importation into the United States of America. See paragraph 12 of the Conditions of Sale.
Hammer Price
Buyer’s Premium
VAT on Buyer’s Premium and/or Hammer Price (If applicable)
Artist’s Resale Royalty (ARR) (If applicable)
The Hammer Price: This is the final, highest bid which the auctioneer accepts by bringing down the auctioneer’s hammer. Buyer’s Premium: This is the commission Phillips charges the successful highest bidder and buyer of the lot. The Buyer’s premium is calculated on the hammer price of the lot at the following rates on a cumulative basis: • 25% on the portion of the hammer price up to and including £300,000; and • 20% on the portion of the hammer price above £300,000 up to and including £3,000,000 and • 13.5% on the portion of the hammer price above £3,000,000. Where VAT is payable on the Buyer’s premium the VAT inclusive Buyer’s Premium rates are 30%, 24% and 16.2% respectively. VAT Most items we sell are sold under UK Auctioneer’s Margin Scheme rules. This means that VAT is charged at 20% on the buyer’s premium and will not be shown separately on the invoice. UK Auctioneer’s Margin Scheme lots have no VAT symbol. Where the lot has a †, ‡ or Ω symbol against it, VAT may be charged on a different basis. For full details, including how to claim VAT refunds, please see the VAT & Tax Guide in this Auction Buyer’s Guide and on our website ♠ Artist’s Resale Royalty (ARR) The laws in certain countries entitle qualifying artists or their estates to a royalty when the artist’s works are resold for a hammer price of EUR 1,000 or more. Lots subject to ARR are marked with the symbol ♠. The ARR is calculated as a percentage of the hammer price on a cumulative basis as follows and is payable as part of the purchase price: Portion of the Hammer Price (in EUROS) From 0 to 50,000 From 50,000.01 to 200,000
Royalty Rate 4% 3%
From 200,000.01 to 350,000 From 350,000.01 to 500,000 Exceeding 500,000
1% 0.5% 0.25%
The total charge for ARR on any single lot cannot exceed Euros 12,500. To calculate the ARR, we use the pounds sterling/euro reference exchange rate quoted on the date of the auction by the European Central Bank. Example To illustrate how the purchase price is calculated, please see the below example: UK Auctioneer’s Margin Scheme lot Hammer Price: £350,000 Buyer’s Premium including VAT @20% £102,000: 25% of first £300,000 of the hammer price = £75,000 + 20% on the balance of £50,000 = £10,000 Total BP = £85,000 VAT @ 20% on the total BP of £85,000 = £17,000
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 https://phillips.com. The digital saleroom is optimized 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 FlashPlayer. 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.
B) At The Auction Bidding Bids may be executed during the auction in person, by paddle or by telephone or prior to the sale in writing by absentee bid. Proof of identity in the form of governmentissued identification will be required, as will an original signature and proof of address. We may also require that you furnish us with a bank reference. For individuals, acceptable forms of government issued photo identification include a passport or photo driving licence. For companies, acceptable forms of government issued identification include a certificate of incorporation or similar as well as proof of owners and directors. Undisclosed agreements between bidders to bid or abstain from bidding on lots are illegal. Please note that Phillips monitors its sales and bidding records to ensure that bidding is transparent and fair and will take appropriate action in the event of any suspected breach of this requirement. 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. 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.
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. 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
by UK£50s by UK£100s by UK£200s by UK£200s, 500, 800 (e.g. UK£4,200, 4,500, 4,800) UK£5,000 to UK£10,000 by UK£500s UK£10,000 to UK£20,000 by UK£1,000s UK£20,000 to UK£30,000 by UK£2,000s UK£30,000 to UK£50,000 by UK£2,000s, 5,000, 8,000 UK£50,000 to UK£100,000 by UK£5,000s UK£100,000 to UK£200,000 by UK£10,000s above UK£200,000 at the auctioneer’s discretion The auctioneer may vary the increments during the course of the auction at his or her own discretion. Conditions Of Sale The auction is governed by the Conditions of Sale and Authorship Warranty which are available on our website. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.
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; 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. No Reserve Lots 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. C) After The Auction Payment Payment is due immediately following the auction, unless other arrangements have been agreed with Phillips in writing in advance of the sale. Interest will be charged on late payment at the rate of 12% per annum. Payments must be made by the invoiced party in pounds sterling and may be sent by wire transfer. Our account details are available on our website. Please reference the relevant invoice number when making payment. Alternatively, payment can be made: • For invoices of £30,000 or less by credit card. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only). • It is our corporate policy not to make or accept single or multiple payments in cash in excess of £5,000 for all purchases in any calendar year. Title to each lot will not pass until the buyer has made full payment of the Purchase Price plus any applicable Artist Resale Royalty and all applicable taxes. Collection Once Phillips has received full and cleared payment of the total purchase price for the lot and any other amounts the buyer owes to Phillips, lots will be released for collection. To collect paid for lots buyers (or their authorised representatives) must provide proof of identity. Authorised Representatives should also bring a copy of a letter signed by the buyer authorising them to collect. Smaller items may be collected from our London gallery on the day of the auction. Please check with our staff when making payment.
Important Notices After the auction, lots will be transferred to offsite fine art storage facilities. The buyer information pack you will receive after the auction will confirm details of the storage facility where your lot is held for collection. Please contact us to make arrangements for collection. Storage Charges Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges and property release fees will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to you in the buyer information pack you will receive after the auction. Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven (7) days following the auction. Transport and Shipping 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. As a free service for buyers, Phillips will wrap purchased lots which are for hand carry only. We do not provide packing, handling or shipping services directly. Export and Import Licenses 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 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. Privacy Our Privacy Policy is available at https://phillips.com or by emailing dataprotection@phillips.com and sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data; (iii) the lawful bases we rely on when processing your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. Phillips’ premises, sale, and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes. Phillips’ auctions will be filmed for simultaneous live broadcast on Phillips’ and third-party websites and applications.
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. Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verified and approved by a qualified electrician.
VAT & Tax Guide VAT Depending on the status of the lot, and your status as a buyer, VAT may be charged on the hammer price, the buyer’s premium or both. UK Auctioneer’s Margin Scheme Most items we sell are second-hand goods, so we sell them under UK Auctioneer’s Margin Scheme rules. Lots falling into this category have no VAT symbol and are treated as follows: No symbol
UK Auctioneer’s Margin Scheme sale
20% VAT charged on the buyer’s premium. (The invoiced buyer’s premium will include the VAT).
Special VAT Treatment If the Lot has one of the below symbols, the VAT treatment will be as follows: VAT Symbol
Basis
Treatment
Standard UK VAT rules
20% VAT charged on both the hammer price and buyer’s premium
Imported lot under Temporary Admission (Low rate)
5% import VAT on the hammer price and 20% VAT on the buyer’s premium
Imported lot under Temporary Admission (High rate)
20% import VAT on the hammer price and 20% VAT on the buyer’s premium
Lots sold outside the Auctioneer’s Margin Scheme If the buyer is a relevant business person in the EU (nonUK) 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. 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 normal VAT rules (i.e., with a † symbol). The following type of VAT may be cancelled or refunded by Phillips on exports made within 30 days of the 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.
If you are located in an EU member state other than the UK you will 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.
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:
Time limits for claiming VAT refunds
• 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 must 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 the 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 (plus any applicable VAT) 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 the payment date. We can only process VAT refunds where the VAT to be refunded is £50 or more per shipment. There will be a processing fee of £20 (plus any applicable VAT). 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. 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.
• If you are located in an EU member state other than the UK: Any claim must be made on a calendar year basis and submitted no later than 30 September in the following calendar year (e.g., for VAT incurred in the year 1 January to 31 December 2019 you should make a claim to your local tax authority no later than 30 September 2020). 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. Claim forms are available from the HMRC website. https://www.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 2019 to 30 June 2020 should be made no later than 31 December 2020). 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. 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.
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 UK Auction Buyer’s Guide, the Important Notices, VAT & Tax Guide 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 Important Notices, 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 pre-sale estimates for any lot and the actual price achieved at auction or upon resale. 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. (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, state or other 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. 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 £300,000, 20% of the portion of the hammer price above £300,000 up to and including £3,000,000 and 12.5% of the portion of the hammer price above £3,000,000. 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. (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 as follows: (i) Payments may be made by wire transfer. Our account details are available on our website. Please reference the relevant invoice number when making payment. Alternatively, payment can be made: • For invoices of £30,000 or less by credit card. We accept American Express, Visa, MasterCard and UnionPay (UnionPay for in person transactions only). • It is our corporate policy not to make or accept single or multiple payments in cash in excess of £5,000 for all purchases in any calendar year. (e) 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 antimoney 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 offsite fine art storage facilities. Details will be included in the buyer information packs sent to buyers after the auction. 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. Property is treated as collected by the buyer at the point it is released by Phillips in the sale location to the buyer or to a third-party shipper acting for the buyer. The buyer is responsible for paying any import duties and local taxes payable to import the Property to its final destination. (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) Lots will be held for collection from our offsite storage facilities for thirty (30) days after the auction free of charge. Storage charges and property release fees will apply after this 30-day period for any lots which have not been collected. Details of the applicable storage charges will be confirmed to buyers in the buyer information pack they will receive after the auction. Purchased lots will not be released to the buyer until the Purchase Price and all charges have been paid in full. (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 14 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 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 scientific analysis of continent of origin and confirmation 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 identification and age of an object in order to demonstrate that the item 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 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 qualified 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. US Import Tarifs Customs Tariffs Buyers intending to import property into the United States of America should note that US Customs may charge an additional import duty upon the importation of (i) products manufactured or created in mainland China and (ii) printed materials (including photographs, prints, lithographs, books and designs) printed in the UK or Germany. Phillips will mark with a symbol lots which may be subject to additional US import tariffs, where this is known to us. Please note, however, that any such markings are done by us only as a convenience to bidders. Phillips
does not accept liability for errors including failing to mark lots accurately or for the absence of any marking. Export, Import, Sales and/or Use Taxes Buyers should note that they are responsible for all charges, duties and taxes related to the exportation and importation of lots shipped by them or shipped on their behalf, including any applicable Sales and/or Use Taxes which may be due on importing the property to the United States. Please contact the department organising the auction for further details. 13 Personal Data (a) You acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our Privacy Policy as published at www.phillips.com or available by emailing dataprotection@ phillips.com. (b) Our Privacy Policy sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data (including for example the provision of auction, private sale and related services; the performance and enforcement of these terms and conditions; the carrying out of identity and credit checks; keeping you informed about upcoming auctions, exhibitions and special events; and generally where reasonably necessary in the management and operation of our business); (iii) the lawful bases on which we rely in undertaking our processing of your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. (c) Phillips premises and sale and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes and will be filmed during the auction for simultaneous live broadcast on our and third party websites and applications. By remaining in these areas, you acknowledge that you may be photographed, filmed and recorded and grant your permission for your likeness and voice to be included in such recordings. If you do not wish to be photographed or filmed or appear in such recordings, please speak to a member of Phillips staff. Your communications with Phillips, including by telephone and online (e.g. telephone and on-line bidding) may also be recorded for security, client service and bid monitoring purposes. Where we record such information we will process it in accordance with our Privacy Policy available at www.phillips.com. 14 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 14, 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)
Authorship Warranty accepts responsibility to any bidder in respect of acts 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. (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. (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. 15 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. 16 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.
(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. 17 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.
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. (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. (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.
30 Berkeley Square, London, W1J 6EX phillips.com +44 20 7318 4010 bidslondon@phillips.com Please return this form by email 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 to bid 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):
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Editions & Works on Paper New York / 23 October
Buy & Sell with us Our January and July 2020 sales in London and New York confrmed the continued demand for high quality, blue-chip Prints & Multiples. • 95% Sold by lot • 98% Sold by value • 50% Sold above high estimate
Auction 23 October, New York Enquiries editions@phillips.com +1 212 940 1220
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Pablo Picasso, Portrait de jeune flle, d’après Cranach le Jeune, 1958. Price Achieved: $728,000, World Auction Record for this Print. © 2020 Estate of Pablo Picasso / Artists Rights Society (ARS), New York Roy Lichtenstein, Water Lilies – Blue Lily Pads, from Water Lilies Series, 1992. Price Achieved: $162,500, World Auction Record for this Multiple. © Estate of Roy Lichtenstein Joan Miró, La Femme des sables, 1959, Les Deux amis, 1969. © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2020
Index Nara, Y. 238
Abramović, M. 180
Hamilton, R. 117, 118, 119, 120
Albers, A. 104
Haring, K. 45, 46, 154, 155, 156, 157
Allora & Calzadilla. 182
Helleu, P.C. 80
Ofli, C. 220
Appel, K. 96
Herold, G. 185
Oldenburg, C. 164
Armleder, J. 200, 201
Hirst, D. 57, 58, 205,
Opie, J. 53, 54, 222, 223, 224, 225,
Arsham, D. 234, 235
206, 207, 208, 209
226, 227, 228, 229, 230, 231
Hockney, D. 13, 14, 15, 112, 113, 114 Bacon, F. 11, 12, 204
Hoyland, J. 106
Pasmore, V. 107, 108, 109
Baldessari, J. 176
Hume, G. 123, 124
Penone, G. 97 Perry, G. 55, 56, 218
Basquiat, J. 47 Beuys, J. 34
Indiana, R. 158, 159
Picasso, Afer P. 70, 71, 72
Bochner, M. 160
Invader 232, 233
Picasso, P. 8, 9, 10, 64, 65, 66, 67, 68, 69, 73, 74, 75
Borremans, M. 184 Braeckman, D. 183
Johns, J. 129, 130, 131, 132
Piene, O. 103 Pistoletto, M 181
Brown, G. 219 Katz, A. 51, 52, 161
Poliakof, S. 98
Chagall, M. 7, 89, 80, 91
KAWS 240, 241
Polke, S. 186
Chillida, E. 100, 101
Kelly, E. 141, 142, 143
Christo & Jeanne-Claude 102
Kentridge, W. 16
Rauschenberg, R. 134, 135, 136, 137
Cocteau, J. 61, 62, 63
Knoebel, I. 36, 37, 196, 197, 198, 199
Richter, G. 35, 189, 190,
Craig-Martin, M. 121
Koons, J. 42, 43, 44
191, 192, 193, 194, 195
Cucchi, E. 94
Kusama, Y. 246
Riley, B. 110, 111
Dalí, S. 93
LeWitt, S. 38, 139, 140
de Toulouse-Lautrec, H. 77
Lichtenstein, R. 32, 148, 149, 150, 151,
Dine, J. 125, 126, 127, 128
152, 153
Shrigley, D. 215, 216, 217
Dubufet, J. 92
Longo, R. 49, 50, 165, 166, 167, 168
Sugito, H. 239
Emin, T. 59, 116
MADSAKI 244, 245
Estes, R. 169, 170, 171
Magritte, R. 81
Rosenquist, J. 133 Ruscha, E. 172, 173, 174, 175
Sultan, D. 33 Tàpies, A. 95
Martin, A. 179 Fanzhi, Z. 242, 243
Matisse, H. 78, 79
Various Artists 188
Figgis, G. 221
McCarthy, P. 178
Vasarely, V. 105
Flavin, D. 138
Mehretu, J. 177
Förg, G. 99
Merz, M. 187
Warhol, A. 17, 18, 19, 20, 21,
Miller, H. 60, 210, 211
22, 23, 24, 25, 26, 27, 28, 29,
Giacometti, A. 76
Miró, J. 1, 2, 3, 4, 5, 6, 82, 83, 84, 85,
30, 31, 144, 145, 146, 147
Gilbert & George 122
86, 87, 88
Weiner, L. 214
Gormley, A. 202, 203
Moore, H. 115
Weiwei, A. 41, 236, 237
Grotjahn, M. & Murakami, T. 259
Murakami, T 247, 249, 250, 251, 252,
Wesselmann, T. 162, 163
253, 254, 255, 256, 257, 258, 260, 261
Wood, J. 48, 212, 213
Murakami, T. & MADSAKI 248
Wool, C. 39, 40
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