A Century of Art

AUCTIONS

PART I

17 May 2023

Christie’s New York 20 Rockefeller Plaza

New York, NY 10020

VIEWING

PART II

18 May 2023

For further information regarding view dates and times, please visit christies.com.

AUCTION CODE AND NUMBER

In sending absentee bids or making enquiries, this sale should be referred to as JERRY-22517 and CENTURY-22518

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The sale for each lot is subject to the Conditions of Sale, Important Notices and Explanation of Cataloguing Practice which are set out online, with other important sale information at christies.com.

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INTRODUCTION

A Century of Art: The Gerald Fineberg Collection presents a remarkable survey of paintings, sculpture, and works on paper that tell the story of an extraordinary period of human creativity. Together these works explore both the most important art historical moments of the last one hundred years, but also the interstitial moments from the canon, periods often overlooked by scholars and institutions. The result of Jerry Fineberg’s forward thinking vision, it is a unique collection that not only includes work by the giants of twentieth-century art including Pablo Picasso, Mark Rothko, Jackson Pollock and Andy Warhol, but also groundbreaking artists of color such as Barkley Hendricks and Beauford Delaney, and women artists such as Ruth Asawa and Alma Thomas.

Jerry Fineberg’s confidence as a collector enabled him not only to acquire works of exceptional quality and rarity, but also to understand the importance of a full and inclusive look at artistic production, long before others took up the challenge. “We got into Pop Art, and then Minimalism,” Jerry recalled, “then discovered the Zero movement from Germany, and we began to collect forward and backward in time.”

His interests extended beyond the Western canon, and he collected Asian artists, particularly Japanese artists, in depth long before other American and European collectors recognized the importance of these works. His embrace of photography as a medium was prescient too, and he acquired important examples of work by Robert Mapplethorpe and Cindy Sherman before they achieved widespread institutional recognition. Jerry Fineberg was far ahead of the curve with his collecting, and intuitively anticipated trends that have re-shaped how we look at, value and understand artistic production.

“We got into Pop Art, and then Minimalism, then discovered the Zero movement from Germany, and we began to collect forward and backward in time.”

JERRY FINEBERG

A CENTURY OF ART: ABSTRACTION

In February 1912, in the inaugural issue of his literary magazine Les Soirées de Paris, the French poet Guillaume Apollinaire wrote excitedly about a new group of fledgling artists: “Young painters of the extreme schools… want to make pure painting… an entirely new art form” (quoted by L. Dickerson, “Inventing Abstraction,” in Inventing Abstraction, 1910-25: How a Radical Idea Changed Modern Art, exh. cat. Museum of Modern Art, New York, 2012, p. 13). That statement effectively distilled a series of swift events that marked the beginning of what has since been described as the biggest shift in artistic practice since the Renaissance.

That new generation—including Wassily Kandinsky, Francis Picabia, and Robert Delaunay, presented paintings that were very different from what had been done before; they eschewed compositions that were of something, instead producing canvases that captured new and very different abstract forms. The works in this collection capture the seismic changes that would take place over the next 100 years. From the earliest years of this radical new movement, examples of works by some of its greatest champions, to contemporary artists still grappling with the effects of those changes today, this collection traces the shockwaves of those earliest protestations as they rippled through the art over the subsequent one hundred years.

One of the earliest works in the collection, Picabia’s Untitled from 1925, was painted just a decade into this new movement, and unflinchingly displays the artist’s deliberate distortion of popular imagery and traditional subjects. In these paintings, dubbed Monstres by the artist’s friend Marcel Duchamp, Picabia fully embraced his new life on the French Riviera, enjoying the pleasures of daily visits to the beach, the party atmosphere of the local casinos, as well as his frequent jaunts along the coast in his prized motor-car. Untitled marks the moment when abstraction starts to take hold, as reveling in the sunshine and relaxed atmosphere of his new life, Picabia began to loosen the traditional rules of figuration and incorporate abstract forms in order to express his heady emotions, rather than any figurative reality.

A generation later, after the horrors of World War II had challenged artists all over the world to consider the purpose of their endeavors, abstraction was in full swing. In America, which had become the center of the art world after the horrors that had been inflicted on Europe during the war, a group of emigres

“Young painters of the extreme schools… want to make pure painting… an entirely new art form.”

GUILLAUME APOLLINAIRE

Willem de Kooning and John Chamberlain, New York, 1959.

Photo: Fred W. McDarrah / MUUS Collection via Getty Images. Helen Frankenthaler in her studio, New York, circa 1956.

Photo: © The Gordon Parks Foundation. Artwork: © 2023 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York.

Opposite: Francis Picabia, Sans titre, circa 1925-1927 (detail). © 2023 Artists Rights Society (ARS), New York / ADAGP, Paris.

emerged who became the cornerstone of what would become known as Abstract Expressionism. This ad-hoc group of artists frequently gathered in the bars of New York such as the Cedar Tavern in Greenwich Village: Mark Rothko, Jackson Pollock, Willem de Kooning and Joan Mitchell drank, smoked, and occasionally got into passionate ‘discussions’ about art before returning to their studios and committing their energies to canvas. These non-representational canvases captured the excitement, energy and uncertainty of the time, and often sought to speak to larger, existential themes than figurative painting could ever achieve.

Some of these concerns were technical or theoretical; once freed from the constraints of representation, what could painting achieve? Josef Albers turned his attention to color theory, and his investigations into the optical resonance caused by his concentric blocks of bold and vibrant pigment did much to examine how our brains processed and understand color. Artists like Helen Frankenthaler, however, examined the physical properties of the paint itself; by allowing the pigment to soak directly into the canvas, it became a physical part of the painting instead of an illusory tool used to replicate something that it is not i.e. a landscape or a portrait.

Abstraction came of age when a group of artists saw this new form of expression as the perfect vehicle for exploring the complexities of the human psyche. The collective trauma of World War II resulted in many painters questioning the purpose of the art itself, and painters like Pollock, Rothko and de Kooning taking advantage of the freedoms abstraction offered to redefine the nature of the gesture. Building on his early interest in the Surrealist notions of the subconscious, and his experience of viewing Native American art, in works such as Composition with Varied Forms, Pollock began to dissolve the traditional practices of figurative painting, a trajectory that would ultimately lead to his dynamic canvases composed of free flowing drips and splatters. Rothko, on the other hand, was deeply interested in the classical mythology, particularly the story of Apollo and Dionysus and the eternal struggle of good versus evil, pleasure versus pain, and the ultimate prevailing of light over darkness.

“The lesson taught us by [Josef] Albers was to do something with a material which is unique to its properties. The artist must respect the integrity of the material. I realized I could make wire forms interlock, expand, and contract with a single strand because a line can go anywhere, whereas a solid sheet is limited.”

RUTH ASAWA

Alexander Calder in his Roxbury studio, 1957.

Photo: Arnold Newman / Getty Images. Artwork: © 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York. Ruth Asawa holding a form-within-a-form sculpture, 1951.

Photo: © Imogen Cunninham Trust. Artwork: © 2023 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), NY. Courtesy David Zwirner.

Opposite: Jackson Pollock, Composition with Varied Forms, 1938-1941 (detail). © 2023 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York.

His floating fields of color represent this perpetual conflict and have become some of the most iconic examples of abstraction in the postwar Western canon. Continuing this association with the classics, Norman Lewis’s Orpheus encapsulates his luminous form of abstraction that not only reflects his virtuosic control over the painterly medium and his interest in the interplay between light and dark, but also manifests his ultimate vision on the power of abstraction.

Willem de Kooning was an artist who, in contrast to many of his contemporaries, painted well into his old age. His journey through abstraction is reflected not only in the visceral energy of the movement’s early years. As those years passed by and de Kooning mellowed, so too did his art. His final decades were dominated by lyrical ribbons of color that echoed his interest in the contemplative qualities of the bucolic landscape and seascape of New York’s Long Island.

While male artists were thought to have dominated the narrative of abstraction, there was a generation of women who were also making sure that their voices were being heard. In terms of their intuitive impact, Joan Mitchell’s gestural canvases were on a par with her male contemporaries, expressing the emotional ties she had to both New York, and later to her adopted home in France. Mitchell did not paint landscapes per se, she painted how they made her feel. Since the subjects of Lee Krasner’s paintings cannot be completely discerned, it could be argued that the subject

of her art is paint itself. From her skilled allover marks emerges numerous otherworldly shapes that meet and combine in unexpected ways. The integrity of the painting’s surface is important to Krasner, resulting perhaps in a personal metaphor of order and disorder. As Krasner observed of the Umber Series featured in the collection, “My painting is so biographical if anyone can take the trouble to read it,” (E. Landau, Lee Krasner: A Catalogue Raisonné, New York, 1995, p. 182).

Although primarily defined by its two-dimensional painterly gestures, abstraction also morphed into three dimensions. As exemplified in Alexander Calder’s colorful mobile abstractions, being freed from the constraints of representation allowed artists to invent new forms of three-dimensional art. Ruth Asawa’s continuous line threads its way through space as she weaves interlocking organic forms with almost hypnotic concentration. Like her painterly contemporaries who manifested the liquid qualities of paint in creating their canvases, Asawa looked to the intrinsic properties of her materials to conjure up her majestic forms. “The lesson taught us by [Josef] Albers was to do something with a material which is unique to its properties. The artist must respect the integrity of the material. I realized I could make wire forms interlock, expand, and contract with a single strand because a line can go anywhere, whereas a solid sheet is limited” (R. Asawa, quoted in S. Dobbs, “Community and Commitment: An Interview with Ruth Asawa,” Art Education, vol. 34, no. 5, September 1981, p. 15).

© 2023 Ruth Asawa Lanier, Inc./Artists Rights Society (ARS), NY. Courtesy David Zwirner.

Opposite: Joan Mitchell, Untitled, circa 1958 (detail).

© Estate of Joan Mitchell.

Ruth Asawa, Untitled (S.410, Hanging Seven-Lobed, Three-Part Continuous Form (Stripes)), circa 1955 (detail).

“I would rather leave nature to itself. It is quite beautiful enough as it is. I certainly never mirror it. I would like more to paint what it leaves me with.”

JOAN MITCHELL

Conventional wisdom dictates that Abstract Expressionism came to end with the arrival of Pop, the hard-edged lines and flat planes of color of Warhol and Lichtenstein being in diametric opposition to the gestural subtleties of Rothko, de Kooning et. al.. Yet, abstraction has never really gone away, it just found new ways to explore form and color. The same year as Roy Lichtenstein debuted his iconic paintings of comic book heroines, Mark Tobey painted his exquisite Burst of Spring. His densely structured compositions were inspired in part by Asian calligraphy, and although they might resemble the gestures of Abstract Expressionism, they differ philosophically from it. His early work was an influence on the development of Jackson Pollock’s drips and splatters, but Tobey’s paintings are more studied, more controlled, and the outcome of prolonged deliberation.

The twenty-first century dawned and a new generation of painters were drawn to freedoms and opportunities that abstraction offered. Christopher Wool and Mark Bradford used their own lived experience to produce a body of work that ensured the continued relevance of the genre in a rapidly changing world. Wool infused his works with elements of figuration (in the case of his exceptionally rare colored Untitled, words) in order to emphasize the abstract nature of the arrangement of letters that make up the phrases he then stencils onto the aluminum support. Wool’s work—at its core—is about how paintings are conceived, realized, and experienced, and the various factors that are at play in these considerations.

Mark Bradford builds up the surfaces of his monumental paintings using everyday materials brought from big box home improvement stores before breaking them down through a fierce process of attrition, often using power tools, brute physical force and his own hands. These disrupted surfaces open up the composition and lay bare the process of their construction, while at the same time allowing for the political message that lies at the heart of Bradford’s work. This form of “social abstraction” (as the artist terms it) allows the artist to ensure that abstraction—a medium previously dominated by white men—be looked at in a different social and political landscape.

The last 100 years was a century in which abstraction came of age. What Apollinaire characterized as “pure painting” has morphed into a highly expressive and evocative artistic language that encompasses both painterly and social concerns. It offers artists the freedom to express themselves in whatever manner they choose, and the reward is a myriad of ways in which they harnessed both the physical and expressive powers of paint to engage with the world around them. As the next one hundred years begins, abstraction is no less relevant, and it is now up to a new generation of “young painters of extreme schools” to take the power of abstraction forward.

Gerhard Richter, Abstraktes Bild, 1986. © Gerhard Richter 2023 (0089).

Gerhard Richter, Cologne, Germany, 1989.

© Chris Felver / Getty Images. Artwork: © Gerhard Richter 2023 (31032023).

Opposite: Gerald Fineberg residence, New York. Artwork: © Mark Bradford, courtesy Hauser & Wirth.

“I want to end up with a picture that I haven’t planned. This method of arbitrary choice, chance, inspiration and destruction may produce a specific type of picture, but it never produces a predetermined picture. Each picture has to evolve out of a painterly or visual logic: it has to emerge as if inevitably.”

GERHARD RICHTER

JOSEF ALBERS (1888-1976)

Homage to the Square

incised with the artist's monogram and date 'A71' (lower right) oil on Masonite 40 x 40 in. (101.6 x 101.6 cm.) Painted in 1971.

$2,500,000-3,500,000

PROVENANCE:

The Josef and Anni Albers Foundation, Bethany, Connecticut

Acquired from the above by the present owner, 2015

EXHIBITED:

London, Hayward Gallery; Dublin, National Gallery of Modern Art; Coventry, Mead Gallery Arts Centre; Oxford, Museum of Modern Art; Norfolk Institute of Art, Norwich Gallery, Josef Albers, February-November 1994, p. 59, no. 49.

Château de Plieux, Josef Albers au Chateau de Plieux, July-September 1998, p. 48, no. 54.

Bottrop Museum, Josef Albers Museum

Quadrat, Letze Bilder: Ad Reinhardt, September 2010-January 2011, p. 127, no. 127 (illustrated and illustrated in the frontispiece).

Paris, Galerie Denise René, Josef Albers, February-March 2012, no. 21 (illustrated).

Paris, Grand Palais, Un Siècle de Lumière et de Mouvement dans l'Art 1913-2013, April-July 2013, p. 211, no. 125 (illustrated).

Madrid, Fundación Juan March, Josef Albers: Minimal Means, Maximum Effect, March-July 2014, p. 160, no. 109 (illustrated).

Høvikodden, Henie Onstad Kunstsenter, Josef Albers: no tricks, no twinkling of the eyes, September-December 2014, pp. 91 and 192 (illustrated).

LITERATURE:

C. Darwent, Josef Albers: Life and Work, New York and London, 2018, pp. 36 and 39, no. 11C (illustrated).

This work will be included in the forthcoming catalogue raisonné being prepared by the Josef and Anni Albers Foundation.

RUTH ASAWA

(1926-2013)

Untitled (S.410, Hanging Seven-Lobed, Three-Part Continuous Form (Stripes))

galvanized steel and brass wire

81 x 8 x 7Ω in. (205.7 x 20.3 x 17.8 cm.)

Executed circa 1955.

$2,000,000-3,000,000

PROVENANCE:

Estate of Ruth Asawa

Acquired from the above by the present owner, 2015

JO BAER (B. 1929)

Untitled

signed and dated 'J. Baer '63' (on the reverse) oil on canvas

72 x 72 in. (182.9 x 182.9 cm.) Painted in 1963.

$150,000-200,000

PROVENANCE:

Richard Bellamy, New York

Keith Barish, Los Angeles

Daniel Weinberg Gallery, Los Angeles

Paula Cooper Gallery, New York and Clint W. Murchison III, Dallas, 1995

Acquired from the above by the present owner, 2007

EXHIBITED:

New York, Whitney Museum of American Art, Jo Baer, May-July 1975, n.p., no. 2 (illustrated).

New York, Paula Cooper Gallery, Jo Baer: Paintings From the 60's and Early 70's, December 1995-January 1996, p. 9 (illustrated).

ALIGHIERO BOETTI

(1940-1994)

Ammazzare il tempo

embroidery on canvas, in forty-nine parts each: 6¬ x 7¿ in. (16.8 x 18.1 cm.)

overall: 46¡ x 49√ in. (117.6 x 126.7 cm.)

Executed in 1979.

$2,500,000-3,500,000

PROVENANCE:

Galleria LP 220, Torino Collection Pero, Milan

Acquired from the above by the present owner, 2003

EXHIBITED:

Turin, Galleria LP 220, Ammazzare il Tempo, 1981. Paris, Galerie Krief, Alighiero E Boetti, SeptemberNovember 1996.

LITERATURE:

Connaissance des Arts, Paris, no. 531, September 1996, p. 28 (illustrated).

L. Pythoud, L’œil expo, Paris, no. 482, SeptemberOctober 1996, n.p. (illustrated).

L’Officiel de la couture et de la mode de Paris, Paris, 1996 (illustrated).

J-C. Ammann, Alighiero Boetti, Catalogo generale, Tomo secondo, Milan, 2012, pp. 370 and 426, cat. no. 1187 (illustrated).

LEE BONTECOU (B.

1931)

Untitled

signed and dated 'L. Bontecou 1963' (on the reverse) graphite and soot on muslin 34 x 37 in. (86.3 x 94 cm.)

Executed in 1963.

$400,000-600,000

PROVENANCE:

Leo Castelli Gallery, New York

Wilder Green, New York

Private collection

Private collection, New York

Acquired from the above by the present owner, 2009

EXHIBITED:

New York, Museum of Modern Art, Members

Collect: Art Lending Service Retrospective Exhibition, March-May 1967.

New York, The American Federation of Arts, American Master Drawings and Watercolors, September 1976-April 1977, no. 76-1.

Lee Bontecou, Untitled, 1962. Collection Glenstone Museum, Potomac, Maryland. © Lee Bontecou 2023, All Rights Reserved.

MARK BRADFORD (B.

1961)

Sea Monster

signed, titled and dated 'Sea Monster 2014 Mark Bradford' (on the reverse) mixed media on canvas 102 x 144 in. (259.1 x 365.8 cm.) Executed in 2014.

$4,000,000-6,000,000

PROVENANCE:

Hauser Wirth & Schimmel, Los Angeles

Acquired from the above by the present owner, 2014

EXHIBITED:

Waltham, Brandeis University, Rose Art Museum; Kunstmuseum Den Haag, Mark Bradford: Sea Monsters, September 2014-October 2015.

ALEXANDER CALDER (1898-1976)

Untitled

sheet metal, wire and paint 41 x 61 x 10 in. (104.1 x 154.9 x 25.4 cm.)

Executed circa 1949.

$2,500,000-3,500,000

PROVENANCE:

Patricia Coffin, New York, 1950, acquired directly from the artist Lindsay Coffin, Connecticut, by descent from the above Edna and Stanley Tuttleman, Pennsylvania

Their sale; Christie's, New York, 15 November 2017, lot 39B

Acquired at the above sale by the present owner

This work is registered in the archives of the Calder Foundation, New York, under application number A16735.

ALEXANDER CALDER

(1898-1976)

Caged Stone on Yellow Stalk

incised with the artist's monogram 'CA' (on the black element)

sheet metal, rod, stone, wire and paint

75 x 42 x 24Ω in. (190.5 x 106.7 x 62.2 cm.)

Executed circa 1955.

$4,000,000-6,000,000

PROVENANCE:

Perls Galleries, New York

Ruth Page, Chicago

Richard Gray Gallery, Chicago, 1983

Jeffrey Hoffeld and Co. Inc., New York

Private collection, New York, 1984

Richard Gray Gallery, Chicago

Acquired from the above by the present owner, 2010

EXHIBITED:

Pittsfield, Berkshire Museum, Mobiles by Alexander Calder, July 1966, n.p. (titled Caged Stone on Red Stalk).

Chicago, Richard Gray Gallery, Modern and Contemporary Masters: Paintings, Sculpture and Drawings, February-March 1984, n.p., no. 13 (illustrated as Caged Stone on Red Stalk).

This work is registered in the archives of the Calder Foundation, New York, under application number A08035.

JOHN CHAMBERLAIN (1927-2011)

Gangster of Love

chromium-plated and painted steel

90 x 74 x 50 in. (228.5 x 188 x 127 cm.)

Executed in 1985.

$800,000-1,200,000

PROVENANCE:

Xavier Fourcade, Inc., New York

Margo Leavin Gallery, Los Angeles

Rita and Toby Schreiber, California

Their sale; Christie's, New York, 12 November 2003, lot 380

Pace Gallery, New York

Acquired from the above by the present owner

EXHIBITED:

Los Angeles, Margo Leavin Gallery, John Chamberlain, March 1985.

Buffalo Fine Arts Academy, Structure to Resemblance: Work by Eight American Sculptors, June-August 1987, n.p., no. 7 (illustrated).

New York, Pace Gallery, John Chamberlain, April-July 2011.

New York, Nahmad Contemporary, Gangster of Love/Crushed: Jan Frank/John Chamberlain, June 2014.

LITERATURE:

D. Bourdon, "Artist's Dialogue: John Chamberlain, The Squeeze and the Fit" Architectural Digest, November 1985, pp. 70, 76 and 81 (illustrated).

K. Baker. "Poetry from Scraps of Steel" San Francisco Chronicle, 24 August 1986, p. 12.

J. Sylvester, John Chamberlain: A Catalogue

Raisonné of the Sculpture 1954-1985, New York, 1986, p. 215, no. 787 (illustrated).

Margo Leavin Gallery: 25 Years, exh. cat., Los Angeles, Margo Leavin Gallery, SeptemberOctober 1995 (illustrated).

J. Frank, CRUSHED: gangster of love, New York, 2014 (illustrated).

S. Davidson, John Chamberlain: Choices New York, 2012, p 217.

BEAUFORD DELANEY

(1901-1979)

Composition Bleu

signed, inscribed and dated ‘Beauford Delaney 68 Rue Paul Couturier Clamart Siene 60’ (on the reverse); titled and dated again ‘Composition Bleu 1960’ (on a panel affixed to the stretcher) oil on canvas

51 x 38º in. (129.5 x 97.1 cm.)

Painted in 1960.

$300,000-500,000

PROVENANCE:

The artist

Galerie Paul Facchetti, Paris

Paul Facchetti, Paris

Bruno Facchetti, Paris

Michael Rosenfeld Gallery LLC, New York

Acquired from the above by the present owner

DAN FLAVIN

(1933-1996)

Untitled (to Piet Mondrian)

red, yellow and blue fluorescent light

96 x 9Ω x 4æ in. (244 x 24.1 x 12.1 cm.)

Executed in 1985. This work is number two from an edition of five, of which four were fabricated, and is accompanied by a certificate of authenticity signed by the artist.

$200,000-300,000

PROVENANCE:

Annemarie Verna Gallery, Zurich

Private collection, Switzerland

Private collection, Switzerland

Annemarie Verna Gallery, Zurich

Private collection, Zurich

Acquired from the above by the present owner, 2015

EXHIBITED: Zurich, Annemarie Verna Gallery, Dan Flavin: Works 1969-1990, January-March 2007.

LITERATURE:

M. Govan and T. Bell, eds., Dan Flavin - The Complete Lights 1961-1996, New York, 2004, pp. 91-92, 96 and 354, fig. 77, no. 454 (another example illustrated).

Piet Mondrian, Tableau 1 with Red, Black, Blue and Yellow, 1921.

© 2023 Mondrian / Holtzman Trust.

Photo: © Kunstmuseum den Haag / Bridgeman Images.

LUCIO FONTANA (1899-1968) AND EGIDIO COSTANTINI (1912-2007)

Concetto spaziale, Aurora di Venezia; Concetto spaziale, Notturno di Venezia [Two Works]

(i) Concetto spaziale, Aurora di Venezia signed, inscribed, numbered and dated 'L. Fontana 65 1/1 F.A. ©' (upper right) green, yellow and purple Murano glass on aluminum board with holes and neon lighting

84 x 40 x 12 in. (213.4 x 101.6 x 30.5 cm.) Executed in 1965.

(ii) Concetto spaziale, Notturno di Venezia signed, inscribed, numbered and dated 'L. Fontana 65 1/1 F.A. ©' (upper right) lilac, red and purple Murano glass on aluminum board with holes and neon lighting

84 x 40 x 12 in. (213.4 x 101.6 x 30.5 cm.) Executed in 1965.

$1,000,000-1,500,000

PROVENANCE:

Galerie Fahnemann, Berlin

Galerie Neuendorf, Hamburg

Galerie Jule Kewenig, Frechen

Hans Neuendorf, Hamburg

Acquired from the above by the present owner, 2006

EXHIBITED:

Rome, Galleria dell'Obelisco, Sculture in vetro: La Fucina degli Angeli, 1965, nos. 28 and 29 (illustrated).

LITERATURE:

Italian Art in the 20th Century, exh. cat., London, Royal Academy of Arts, 1989, p. 422 (illustrated).

E. Crispolti, Lucio Fontana: Catalogo regionato di sculture, dipinti, ambientazione: Tomo II, Milan, 2006, p. 928, nos. 65 OC 2 and 65 OC 3 (illustrated).

HELEN FRANKENTHALER

(1928-2011)

Untitled

signed and dated 'Frankenthaler 1959-1960' (on the reverse) oil and charcoal on canvas 90 x 70 in. (228.6 x 177.8 cm.) Painted in 1959-1960.

$2,000,000-3,000,000

PROVENANCE:

Helen Frankenthaler Foundation, New York

Gagosian Gallery, Paris

Acquired from the above by the present owner

EXHIBITED:

Paris, Gagosian Gallery, Helen Frankenthaler: After Abstract Expressionism, 1959-1962, JuneSeptember 2017, pp. 43-45 and 86 (illustrated).

LITERATURE: L. Mahony, "Helen Frankenthaler," Gagosian Quarterly, Fall 2017, pp. 90 and 94 (illustrated).

MARK GROTJAHN

(B. 1968)

Untitled (Indian #1 Face 45.46)

signed with the artist’s initials and dated ‘MG 14’ (lower right); signed three times, titled and dated 'M. GROTJAHN M.Grotjahn UNTITLED (INDIAN #1 FACE 45.64) 2014 M. Grotjahn' (on the overlap) oil on cardboard mounted on linen 48º x 37º in. (122.6 x 94.6 cm.) Painted in 2014.

$2,000,000-3,000,000

PROVENANCE:

Blum & Poe Gallery, Los Angeles

Acquired from the above by the present owner

EXHIBITED:

Los Angeles, Blum & Poe Gallery, Fifteen Paintings, May-June 2015, n.p. (illustrated and installation view illustrated).

WILLEM DE KOONING (1904-1997)

Untitled

oil on canvas

80 x 70 in. (203.3 x 177.8 cm.) Painted in 1983.

$8,000,000-12,000,000

PROVENANCE:

The Willem de Kooning Foundation, New York Gagosian Gallery, New York

Acquired from the above by the present owner, 2014

EXHIBITED: New York, Gagosian Gallery, Willem de Kooning Ten Paintings 1983-1985, November-December 2013, pp. 30-31, 34-35 and 111 (illustrated).

LITERATURE:

C. B. Pepper, "The Indomitable de Kooning," The New York Times Magazine, 20 November 1983, p. 43 (studio view illustrated on the front cover). W. Feaver, "The Incomparable de Kooning," Artnews, May 1994, p. 148 (studio view illustrated).

I. Schlagheck, "Von Ihm Haben Viele Gelernt," Art-das Kunstmagazin, April 1994 (studio view illustrated on the front cover).

Willem de Kooning 1981-1986, exh. cat., New York, L&M Arts, 2007, p. 1 (studio view illustrated). Willem de Kooning: Figure & Light, exh. cat., New York, L&M Arts, 2010, p. 54 (studio view illustrated).

De Kooning: Five Decades, exh. cat., New York, Mnuchin Gallery, April-June 2019, p. 92 (studio view illustrated).

A vision of sublime elegance and clarity, Untitled is an outstanding work from Willem de Kooning’s majestic series of ‘ribbon’ paintings. Painted in 1983, and shown with de Kooning on the front cover of The New York Times Magazine on November 20 that year, it captures the dazzling elemental rigour and intuitive liberation that defined the extraordinary final phase of the artist’s oeuvre. Stripping away the dramatic excesses of the 1970s, de Kooning reduces his palette to two tones: red and blue. Rendered with near-calligraphic linear brushstrokes, his bands of color undulate across a luminous expanse of white, choreographed with exquisite, balletic precision. With examples held in the San Francisco Museum of Modern Art, the Walker Art Center, Minneapolis, the Museum of Modern Art, New York and the Whitney Museum of American Art, these works stand among de Kooning’s most daring, brilliant and enigmatic creations. Selected by the celebrated curator John Elderfield for the 2013 exhibition, Willem de Kooning: Ten Paintings, 1983-1985, the present example is remarkable for its crystalline, reductive power. Four decades of painterly abstraction are distilled into a spectacle of spare, incandescent beauty, all extraneous gesture extinguished in a blaze of light.

The November edition of The New York Times Magazine was headlined by an article entitled “The Indomitable de Kooning." In it, the writer Curtis Bill Pepper compared the spirit of the artist’s recent work to the grandiose late visions of Titian and Michelangelo. “The effect they gave was one of lightness and joy,” he wrote, at times suggesting “visions of air and water … shot through with transcendental light” (C. B. Pepper, “The Indomitable de Kooning,” The New York Times Magazine, November 20, 1983). The article was a testament to the frenzy surrounding the artist during this period. In the wake of his major international touring retrospective organized by the Whitney Museum of American Art that year, de Kooning reached the pinnacle of his celebrity. His paintings, simmering with pared-back intensity, were powerful reflections of his stature. “I am becoming freer,” he said in 1983. “I feel that I have found myself more in the sense that I have all my strength at my command” (W. de Kooning, quoted in D. Peters, “Willem de Kooning: Paintings 1960-1982,” Studio International 196, August 1983, p. 4).

Opposite: Willem de Kooning in his studio, East

Pablo Picasso, Reclining Nude, 1932. Musée National d’Art Moderne, Centre Georges Pompidou, Paris. © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

Hampton, 1983.

Photo: Arnold Newman Properties / Getty Images. Artwork: © 2023 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York.

“…[T]here is a time in life when you just take a walk: and you walk in your own landscape.”

WILLEM DE KOONING (ROBERT SNYDER, SKETCHBOOK NO. 1: THREE AMERICANS (NEW YORK: TIME, 1960), FILM TRANSCRIPT)

Untitled, in process in the artist’s studio, September 15–17th, 1983

Photo: Tom Ferrara. Artwork: © 2023 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York.

The present work eloquently demonstrates this self-assuredness. While some of de Kooning’s later works had featured other colors, here his sparse duet of red and blue sings with the confidence of an artist at the height of his creative abilities. In his essay for the 2013 catalogue, Elderfield writes in depth about its facture, illustrating four remarkable photographs of the painting in progress. The whole suite of five state photographs, taken between 15 and 18 September 1983, reveal much about the controlled precision of de Kooning’s process during this period. In its initial state, the canvas lay horizontally, with several areas drawn, shaded and painted. Dissatisfied, explains Elderfield, the artist rotated the canvas to portrait format, eliminating a number of the dense colored passages and adding several new linear elements. Flipping his canvas upside down, he continued to erase and embellish, anchoring his network of calligraphic lines like “billowing drapery” to the pointed red crescent form at the top. “In a brilliant final gesture,” writes Elderfield, he cut apart the two blue lines that had connected at the center of the canvas, “allowing space to flow from one side of the picture to the other” (J. Elderfield, Willem de Kooning: Ten Paintings, 1983-1985, exh. cat., Gagosian Gallery, New York, 2013, pp. 33-35).

The work demonstrates a number of the artistic influences that preyed upon de Kooning’s imagination during this period. He was fascinated by Henri Matisse’s 1909 painting Dance (I), whose graphic simplicity and “floating quality” (Tom Ferrara, telephone interview by Judith Zilczer, September 7, 2005, in Judith Zilczer, A Way of Living: The Art of Willem de Kooning, London, Phaidon, 2017, p. 233.) he had often admired in New York’s Museum of Modern Art. De Kooning also spoke enthusiastically of the artist’s cut-outs, hailing their “joyous” nature (Amei Wallach, “My Dinners with de Kooning,” Newsday Fan Fare, April 24, 1994, p. 24.) The spirit of Arshile Gorky, too—his old friend— loomed large after de Kooning attended his Guggenheim retrospective in 1981. Elsewhere, de Kooning praised the “merciless” (Willem de Kooning, text of talk delivered at a symposium at MoMA on February 5, 1951, in “What Abstract

“I am becoming freer. I feel that I have found myself more in the sense that I have all my strength at my command.”

WILLEM DE KOONING

(W. DE KOONING, QUOTED IN D. PETERS, “WILLEM DE KOONING: PAINTINGS 1960-1982,” STUDIO INTERNATIONAL 196, AUGUST 1983, P. 4).

Willem de Kooning, Asheville, 1948.

© 2023 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York.

Giovanni Battista Tiepolo, The Sacrifice of Abraham, 1726-1729. Museo Diocesano and Gallerie Tiepolo, Udine.

Photo: © 2023 NPL - DeA Picture Library / Bridgeman Images.

Opposite: Gerald Fineberg residence, New York (present lot illustrated).

Artwork: © 2023 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York; © Estate of Joan Mitchell; © 2023 PollockKrasner Foundation / Artists Rights Society (ARS), New York.

Art Means to Me: Statements by Six American Artists,” The Museum of Modern Art Bulletin XVIII, no. 3 (Spring 1951): p. 7.) rigour of his compatriot Piet Mondrian: Mark Stevens and Annalyn Swan note that many of the late works “look like a Mondrian reflected in rippling water” (M. Stevens and A. Swan, op cit., p. 601).

Curtis Bill Pepper, meanwhile, claimed that the voluptuous curves of these paintings invoked traces of the female form, conjuring the figures of Pablo Picasso (C. B. Pepper, op cit.). Looking back further still, the present work’s celestial radiance may be said to recall the aerial works by Giovanni Battista Tiepolo that de Kooning had encountered during his travels in Italy.

The mid-1980s was a period of immense creativity and productivity for de Kooning. New canvases were commenced almost every week, with many continuing the dance set in motion by others. Elderfield notes a dialogue between the present work and Untitled XXIX, completed in late August, suggesting that the artist may have worked from the same source drawing or directly from the earlier painting itself. This process, he writes, “reveals the extraordinary fertility of de Kooning’s imagination during this period” (J. Elderfield, op cit., p. 32). Waking each morning at dawn and arriving at his easel by eighto’clock, the artist worked with joyful intensity. Operating on a grand, immersive scale, he painted each primed canvas white before he began, allowing him to work wet-on-wet. After drawing in charcoal, de Kooning would then apply his paint in swift, sweeping strokes, often squeezing his paint directly from the tube and using a spackling knife to remove any excess pigment. The resulting paintings were not only spatially complex, explains Elderfield, “but also extremely physical pictures, both visually open and densely embodied” (J. Elderfield, press release for Willem de Kooning: Ten Paintings, 1983-1985, 2013).

By the 1980s, de Kooning’s influence was beginning to reach a new generation of artists. Among his emerging disciples were the young Jean-Michel Basquiat, Cecily Brown and Jenny Saville. The latter, writing of his late works, would later compare their reductive beauty to Japanese haiku poetry, lauding the elemental palette of “fire/blood and water/sky” (J. Saville, quoted in K. Vander Weg, “Jenny Saville on Willem de Kooning,” Gagosian Quarterly, April 13, 2018). Inasmuch as they looked outwards, however, his paintings of this period also harboured a deeply introspective quality, recalling—in haunting refrain— the linear, organic qualities of his own early abstracts some four decades prior. A poignant sense of circularity, both literal and metaphorical, pervades the present work, its lines meandering like rivers to new and familiar shores. Its pale surface, gleaming like a distant light source, invites the viewer to step into de Kooning’s interior world. “...[T]here is a time in life when you just take a walk,” he said: “and you walk in your own landscape” (Robert Snyder, Sketchbook No. 1: Three Americans (New York: Time, 1960), film transcript.)

“Of these works, a significant number count among the most remarkable paintings by anyone then active and among the most distinctive graceful, and mysterious de Kooning himself ever made.”

ROBERT STORR

WILLEM DE KOONING (1904-1997)

East Hampton III

$6,000,000-8,000,000

WILLEM DE KOONING (1904-1997)

Two Figures

oil and newspaper on canvas

36 x 48 in. (76.2 x 121.9 cm.) Painted in 1968-1972.

$3,000,000-5,000,000

PROVENANCE:

Estate of Willem de Kooning, New York

Matthew Marks Gallery, New York

Private collection, Australia

Acquired from the above by the present owner, 2009

EXHIBITED:

New York, Matthew Marks Gallery, Willem de Kooning: Sculpture, May-June 1996. Paddington, Martin Browne Fine Art, A Selection of Post-War International Paintings and Sculpture, July-August 1997 (illustrated).

LITERATURE:

E. Leiser, Willem de Kooning and the Unexpected, Zurich, 1979 (video).

K. Wilkie, "Willem de Kooning: Portrait of a Modern Master," Holland Herald, 1982, p. 22 (studio view illustrated).

Abstract Expressionism - A World Elsewhere, exh. cat., New York, Haunch of Venison, 2008, p. 131 (studio view illustrated). de Kooning: a Retrospective, exh. cat., New York, Museum of Modern Art, 2011, p. 440 (studio view illustrated).

Willem de Kooning, The Figure: Movement and Gesture: Paintings, Sculpture and Drawings, exh. cat., New York, Pace Gallery, April-July 2011, n.p. (studio view illustrated).

J. Zilczer, A Way of Living: The Art of Willem de Kooning, London, 2014, pp. 222 and 237 (studio view illustrated).

LEE KRASNER (1908-1984)

Untitled

signed

58

$6,000,000-8,000,000

PROVENANCE:

Charles Glickman, Palm Beach, gift of the artist Robert Miller Gallery, New York

Mr. and Mrs. Sanford R. Robertson, Sausalito, 1988

Berggruen Gallery, San Francisco, 2018 Acquired from the above by the present owner

LITERATURE:

ART news, September 1985, p. 37 (illustrated). Lee Krasner: A Retrospective, exh. cat., Houston, Museum of Fine Arts, 1983, pp. 94-95, fig. 93 (illustrated).

E.G. Landau, Lee Krasner, A Catalogue Raisonné, New York, 1995, p. 158, no. 306 (illustrated).

'Lee Krasner' (lower left); signed again 'Lee Krasner' (on the stretcher) oil on canvas

x 65 in. (147.3 x 165.1 cm.) Painted circa 1956-1959.

Opposite: Present lot illustrated (detail).

Like a thriving garden or a cornucopia, Lee Krasner’s Untitled is the result of growth, renewal, and nourishment—even in the face of loss. Upon her husband Jackson Pollock’s death in August 1956, Krasner threw herself into a new era of simultaneous mourning and innovation. Untitled resonates with these conflicting and generative emotional states, and its variegated, hieroglyphic surface fits together in harmony. Untitled is a portrait of a life in transition, akin to the cyclicality of Krasner’s series. As her biographer Gail Levin writes, “After Pollock’s sudden death, she painted bold and upbeat works in a series she called Earth Green. Her impulse was to reach out and boldly embrace life…Her frequent preoccupations include an emphasis on nature, and she sometimes hints of birth, destruction, and regeneration” (G. Levin, Lee Krasner: A Biography, New York, 2012, p. 320). These characteristics are evident in Untitled, which masterfully weaves together pain and zeal.

Untitled, at about five feet by five-and-a-half feet, immerses the viewer in Krasner’s emotional and artistic concerns of the late 1950s as she confidently developed her style. The interlocking greens, maroons, and oranges engender a bold color palette with a sculptural quality, as if these bounded fields of color might rise up out of the canvas-like reliefs. Branchlike forms frame the canvas’s left edge, guarding the mitochondrial entities within. Concealed in the lower left corner, a progression of loops and swirls evokes her signature, mimicking the burgeoning of the organic forms above. Untitled is both ordered and entropic as Krasner builds up the canvas with bounded marks that each contain their own cosmos. Her brushstrokes are as abstract as they are representational, resulting in an atmospheric, biomorphic scene. The admixture of earthen, natural hues with bursts of color in Untitled is reminiscent of Impressionism, which saw a renewed critical interest in the 1950s. Krasner’s allover tendency in

Untitled creates, in the tradition of Impressionism, a “quiet, uniform pattern of strokes…spread over the canvas without climax or emphasis” (L. Krasner, quoted in J. Marter, Women of Abstract Expressionism, exh. cat., Denver Art Museum, 2016, p. 62). Yet there is nothing quiet about Untitled. Instead, the characters and forms that reside within it create their own sheet music, their own orchestra.

The present work likely emerged from a pivotal period deemed the Earth Green series, which occupied the artist from 1956-1959, until she shifted into her Umber paintings. Krasner named the series Earth Green at the suggestion of her friend, the critic B.H. Friedman, who wrote of the series in 1958, “In looking at these paintings, listening to them, feeling them, I know that this work—Lee Krasner’s most mature and personal, as well as most joyous and positive, to date…are a stunning affirmation of life”

(B.H. Friedman, Lee Krasner: Paintings, Drawings and Collages, exh. cat., Whitechapel Gallery, London, 1965, p. 13). Examples of the Earth Green paintings are held in the San Francisco Museum of Modern Art, the Whitney Museum of American Art, New York, and California State University, Long Beach, among other esteemed collections.

“In looking at these paintings, listening to them, feeling them, I know that this work—Lee Krasner’s most mature and personal, as well as most joyous and positive, to date…are a stunning affirmation of life.”

B.H. FRIEDMAN

Lee Krasner, The Seasons, 1957. Whitney Museum of American Art, New York. © 2023 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York. Photo: © Whitney Museum of American Art / Licensed by Scala / Art Resource, NY.

Untitled distills the most affecting features of the Earth Green series, including a monumental scale, verdant pigments, and new representations of space. With its flirtation with naturalism, landscape, and representation generally, the painting is a transitional canvas for Krasner. Instead of focusing solely on art historical debates, Krasner also sought to create paintings about life itself. In a 1960 interview, she observes, “Painting is not separate from life. It is one. It is like asking—do I want to live? My answer is yes—and I paint” (L. Krasner, quoted in E. Landau, Reading Abstract Expressionism: Context and Critique, New Haven, 2005, p. 237). Untitled therefore gives shape, literally and metaphorically, to Krasner’s will to live, and indeed painting’s life-affirming role throughout history.

As such, Krasner managed to create a signature style without uniformity that set her apart from the highly visible “signatures” of Jackson Pollock’s drips, Mark Rothko’s veils of color, or Barnett Newman’s zips. With her signature and her identity painted into the very scaffolding of Untitled, Krasner developed a “fierce insistence on the possibility both of entering high culture on its terms and of making that culture her own” (A. Wagner, “Lee Krasner as L.K.,” Representations, No. 25, Winter 1989, p. 55). Krasner has therefore placed herself inextricably within the painting, as if she is the cartographer of a neverbefore-seen landscape.

It is no mistake that Untitled and the Earth Green series, as patchworks of complex emotions, reflect Krasner’s renewed interest in collage as a modernist strategy. According to Helen A. Harrison, director of the Pollock-Krasner House and Study Center in East Hampton, Krasner’s later work benefitted from “the nature-derived imagery she had first explored in the gestural arabesques of the Earth Green paintings, emphasizing their calligraphic qualities and later sharpening their edges to resemble cutout collage elements (H.A. Harrison, “Lee Krasner,” Pollock-Krasner House and Study Center, n.d.). Krasner therefore recalls the primacy of collage in the early twentieth-century avant-gardes, especially Jean Arp’s paper collage Untitled (Squares Arranged According to the Laws of Chance) (1917) and Pablo Picasso’s Cubist assemblage Still Life with Chair Caning (1912). While Arp often relied on chance for his collages, Krasner’s strong marks in Untitled are filled with intentionality. Moreover, Picasso pushed the pictorial to its limits by investing in figuration and appropriation, while Krasner remained focused on abstraction, despite the naturalistic connotations her work skirts.

Sandro Botticelli, La Primavera, 1477. Uffizi, Florence, Italy.

Photo: Erich Lessing / Art Resource, NY. Pablo Picasso, Still-life with Chair Caning, 1912. © 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

Opposite: Lee Krasner in her studio circa 1960-1961 (present lot illustrated).

Photo: Paul De Vries. Artwork: © 2023 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York.

Finally, Untitled provides insight into the relationship between postwar painting and nature. A 1968 review observes of the Earth Green series, “In these works, large foliate shafts or animal like forms, staring eyes, disembodied limbs, and sac-shaped protuberances fill the canvas in swirling, bursting rhythms. They are both joyous and threatening, affirmative and atavistic in their treatment and effect” (E. Wasserman, “Lee Krasner in Mid-Career,” Artforum, Vol. 6, No. 7, March, 1968, p. 42). While the Abstract Expressionists approached nature as something universal and transcendent, Untitled and the Earth Green series feel rooted, tangible, and particular to Krasner’s circumstances.

Opposite: Present lot illustrated (detail).

Untitled represents a chance to look into Krasner’s world, which, like art history itself, is multifarious and dynamic. This painting sets her apart from her peers as she eschewed the tenets of any one movement. She was, like the floating, cursive-like marks of Untitled, beyond categorization. As Piet Mondrian, one of Krasner’s inspirations, told her, “You have a very strong inner rhythm. You must always hold that” (P. Mondrian, quoted in D. Seckler, “Oral history interview with Lee Krasner, 1964 Nov. 2—1968 Apr. 11,” Smithsonian Archives of American Art, 1964-1968). And hold it she did, especially in her life’s darkest moments, which became periods of evolution. Untitled is an indispensable midcareer painting that foreshadows her practice for years to come. Both a summation and a departure, Untitled shows Krasner at her bravest.

“You have a very strong inner rhythm. You must always hold that.”

PIET MONDRIAN

Lee Krasner and Jackson Pollock in Pollock’s studio, circa 1949. Photo: © Lee Krasner Papers, Archives of American Art, Smithsonian Institution. Artwork: © 2023 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York.

LEE KRASNER (1908-1984)

Twelve Hour Crossing, March Twenty-first

signed and dated 'Krasner '81' (on the reverse) oil and paper collage on canvas 68 x 75 in. (172.7 x 190.5 cm.)

Executed circa 1971-1981.

$4,000,000-6,000,000

PROVENANCE:

Pace Gallery, New York

James A. Patterson, Louisville, 1981

Rothschild Fine Arts, New York

Robert Miller Gallery, New York

Mary Shiller Myers and Louis Shiller Myers, Akron, 1986

Their sale; Sotheby's, New York, 11 November, 2009, lot 10

Private collection, New York, 2009

Acquired from the above by the present owner

EXHIBITED:

New York, Pace Gallery, Lee Krasner/Solstice, March-April 1981, n.p. (illustrated).

Houston, Museum of Fine Arts; San Francisco Museum of Modern Art; Norfolk, Chrysler Museum; Phoenix Art Museum; New York, Museum of Modern Art, Lee Krasner: A Retrospective, October 1983-February 1985, p. 6 (illustrated).

New York, Robert Miller Gallery, Lee Krasner Collages 1939-1984, October-November 1986, n.p. (illustrated).

LITERATURE:

Arts Magazine, April 1981, p. 37 (illustrated).

G. Baro, "New York Letter," Art International, August-September 1981, p. 124 (illustrated).

C. Ratcliff, "Lee Krasner at Pace," Art in America, October 1981, p. 139 (illustrated sideways).

J. Russel, "It's Not 'Women's Art,' It's Good Art," New York Times, July 1983, p. 1 (illustrated).

A. Wallach, "Krasner's Triumph," Vogue, November 1983, p. 501.

T. Albright, "Krasner: Energy Rather Than Power," Review, February 1984, p. 13.

J. B. Myers, "Naming Pictures: Conversations Between Lee Krasner and John Bernard Myers," Artforum, November 1984, p. 73 (illustrated).

E. G. Landau, Lee Krasner: a Catalogue Raisonné, New York, 1995, p. 296, no. 595 (illustrated).

J. Trager, The New York Chronology: The Ultimate Compendium of Events, People, and Anecdotes from the Dutch to the Present, New York, 2003, p. 757.

NORMAN LEWIS (1909-1979)

Orpheus

signed and dated 'NORMAN LEWIS-53' (lower right); titled 'ORPHESUS [sic]' (on the stretcher) oil on canvas

29æ x 50 in. (75.6 x 127 cm.) Painted in 1953.

$600,000-800,000

PROVENANCE:

Estate of Norman Lewis

Michael Rosenfeld Gallery, New York, 2018 Acquired from the above by the present owner

EXHIBITED:

The Graduate School and University Center of the City University of New York, Norman Lewis: A Retrospective, October-November 1976, n.p., no. 36 (illustrated).

New York, Studio Museum in Harlem, Norman Lewis: Black Paintings, 1946-1977, AprilSeptember 1998, pp. 28 and 117, no. 34 and 49 (illustrated).

New York, Michael Rosenfeld Gallery, Norman Lewis: Looking East, November 2018-January 2019, pp. 6, 18, 45 and 117 (illustrated).

LITERATURE:

Procession: The Art of Norman Lewis, exh. cat., Philadelphia, Pennsylvania Academy of the Fine Arts, 2015, p. 62.

Odyssey: Jack Whitten Sculpture, 1963-2017, exh. cat., Baltimore Museum of Art, 2018, p. 47. R. Smith, "Last Chance," The New York Times, January 2019, p. 26.

ROY LICHTENSTEIN (1923-1997)

Sky and Water

signed, inscribed and dated '© rf Lichtenstein '85' (on the reverse) oil and Magna on canvas 66 x 96 in. (167.6 x 243.8 cm.) Painted in 1985.

$4,000,000-6,000,000

PROVENANCE:

Estate of Roy Lichtenstein

Mitchell-Innes & Nash, New York and Berggruen Gallery, San Francisco Private collection, New York, 2003

Acquired from the above by the present owner, 2009

EXHIBITED:

Ohio, The Butler Institute of American Art, 50th National Midyear Exhibition, June-August 1986. Tel Aviv Museum; Frankfurt, Schirn Kunsthalle, The Drawings of Roy Lichtenstein, November 1987–May 1988.

Columbus, Wexner Center for the Arts, Roy Lichtenstein, October 1993-September 1994, pp.267 and 393, no. 210 (illustrated). Zurich, De Pury and Luxembourg, Roy Lichtenstein: Brushstrokes, March-June 2002, pp. 81 and 84, no. 17 (illustrated on the front cover).

LITERATURE: R. Lichtenstein, Roy Lichtenstein's Last Still Life, Cornell, 1998, p. 8.

This work will be included in the forthcoming Catalogue Raisonné being prepared by the Roy Lichtenstein Foundation.

AGNES MARTIN (1912-2004)

Untitled #2

signed and dated 'a martin '96' (on the reverse) acrylic and graphite on canvas 60 x 60 in. (152.4 x 152.4 cm.) Executed in 1996.

$3,000,000-5,000,000

PROVENANCE:

PaceWildenstein, New York Private collection, New York, 1997

Richard Gray Gallery, New York Acquired from the above by the present owner, 2011

EXHIBITED:

New York, PaceWildenstein, Agnes Martin: Recent Paintings, January-February 1997. New York, Richard Gray Gallery, Threat and Degradation September 2011.

LITERATURE:

T. Bell, ed., Agnes Martin Catalogue Raisonné: Paintings digital, ongoing, no. 1996.002 (illustrated).

JOAN MITCHELL

(1925-1992)

Untitled

oil on canvas

77æ x 68Ω in. (195.6 x 174 cm.)

Painted circa 1958.

$6,000,000-8,000,000

PROVENANCE:

Estate of Joan Mitchell

Private collection, France

Acquired from the above by the present owner, 2018

EXHIBITED:

New York, Lennon, Weinberg, Inc., Figure/Ground: Joan Mitchell, Willem de Kooning, Raoul Hague, April-June 2015, n.p. (illustrated).

New York, Hauser & Wirth, Nothing and Everything: Seven Artists 1947-1962, FebruaryApril 2017 (illustrated).

LITERATURE:

Joan Mitchell: Paintings from the Fifties, exh. cat., Lennon, Weinberg, Inc., New York, 2011, n.p., no. 26 (illustrated).

ROMAN OPALKA (1931-2011)

1965/1-∞ Détail 10850661108739

inscribed 'OPALKA 1965/1-∞ DETAIL 1085066 - 1108739' (on the reverse)

acrylic on canvas

77º x 53¿ in. (196 x 135 cm.)

Executed according to an artistic program conceived in 1965.

$400,000-600,000

PROVENANCE:

The artist Galerie Isy Brachot, Paris

Private collection, Paris Anon. sale; Artcurial, Paris, 7 December 2004, lot 373

Armand Bartos Fine Art & Antony Grant Inc, New York

Private collection, New York

Acquired from the above by the present owner, 2007

EXHIBITED: Paris, Glaerie Isy Brachot, OPALKA 1965/1 - ∞ , n.p., cat. no. 11 (illustrated).

This work will be included in the Roman Opalka Catalogue raisonné established by Michel Baudson and to be published by Rainer Michel Mason, whom we would like to thank for the information provided.

JACKSON POLLOCK (1912-1956)

Composition with Varied Forms

oil on Masonite

17¡ x 26√ in. (44.1 x 68.3 cm.)

Painted circa 1938-1941.

$800,000-1,200,000

PROVENANCE:

The artist Lee Krasner, New York

Pollock-Krasner Foundation, New York Washburn Gallery, New York

Private collection, New York

Hollis Taggart, New York

Acquired from the above by the present owner, 2016

LITERATURE:

F.V. O'Connor and E.V. Thaw, eds., Jackson Pollock: A Catalogue Raisonné of Paintings, Drawings and Other Works, Volume 1: Paintings 1930-1947, New Haven and London, 1978, p. 58, no. 73 (illustrated).

MILTON RESNICK (1917-2004)

Ulysses

signed and dated '56 Resnick' (lower left); titled '"ULYSSES"' (on the reverse) oil on canvas

57 x 44 in. (144.8 x 111.2 cm.) Painted in 1956.

$100,000-150,000

PROVENANCE:

The artist Poindexter Gallery, New York Private collection, Connecticut Anon. sale; Shannon’s, Connecticut, 30 April 2020, lot 113

Michael Rosenfeld Gallery LLC, New York Acquired from the above by the present owner

EXHIBITED:

New York, Poindexter Gallery, Resnick, March 1957.

New York, Michael Rosenfeld Gallery LLC, Distinctive/Instinctive: Postwar Abstract Painting, February-May 2021.

GERHARD RICHTER (B.

1932)

Abstraktes Bild

signed, inscribed and dated '593-5 Richter 1986' (on the reverse) oil on canvas

47Ω x 31Ω in. (120 x 80 cm.) Painted in 1986.

$3,000,000-5,000,000

PROVENANCE:

Marian Goodman Gallery, New York

Boston Children's Heart Foundation, Children's Hospital, Boston

Their sale; Sotheby's, London, 26 June 1997, lot 54 Collection of Thomas Olbricht, Essen

Schönewald Fine Arts, Xanten and Anthony Meier

Fine Arts, San Francisco

Galerie Terminus, Munich

Galerie Springer & Winckler, Berlin

Private collection, Seattle

Acquired from the above by the present owner, 2007

EXHIBITED:

New York, Marian Goodman Gallery, Gerhard Richter: Paintings, March-April 1987, p. 20 (illustrated).

Essen, Museum Folkwang, Moving Energies #3.1: Aspects of the Olbricht Collection, January-April 2004, n.p. (illustrated).

Munich, Galerie Terminus, Gerhard Richter: sichtweise-schichtweise, May-June 2006, p. 19 (illustrated).

LITERATURE:

B. H. D. Buchloh, ed., Gerhard Richter: Catalogue Raisonné 1962-1993, vol. III, Osfildern-Ruit, 1993, no. 593-5 (illustrated).

MARK ROTHKO (1903-1970)

Untitled

signed 'Mark Rothko' (on the reverse) oil on paper laid down on canvas 39æx 25Ω in. (101.3 x 64.8 cm.) Painted in 1964.

$3,000,000-5,000,000

PROVENANCE:

The artist

Private collection, New York

Anon. sale; Sotheby’s, New York, 2 May 1985, lot 5 Robert S. Lubin, Illinois, 1985 Pace Gallery, New York

The Haskell Collection, Jacksonville, 1990

Their sale; Phillips de Pury & Luxembourg, New York, 12 November 2001, lot 31

The MAT Charitable Foundation, New York, 2001

Acquired from the above by the present owner, 2004

EXHIBITED:

Jacksonville, Cummer Gallery, Abstract

Expressionism: The Haskell Collection, April-June 1992, pp. 38 and 55 (illustrated).

This work is being considered for inclusion in the forthcoming Mark Rothko Online Resource and Catalogue Raisonné of works on paper, compiled by the National Gallery of Art, Washington.

Mark Rothko, Rothko Chapel, 1971. Houston.

ROBERT RYMAN (1930-2019)

File

signed and dated twice 'Ryman97' (lower center); signed again, titled and dated again 'Ryman97 "File"' (on the overlap) oil and acrylic on canvas 20 x 20 in. (50.8 x 50.8 cm.) Painted in 1997.

$2,000,000-3,000,000

PROVENANCE:

PaceWildenstein, New York

Private collection, United States, 1998

Acquired from the above by the present owner, 2013

EXHIBITED:

New York, PaceWildenstein Gallery, Robert Ryman: Small Format Paintings, January-February 1999.

Dallas Museum of Art, Robert Ryman, December 2005-April 2006, pp. 42 and 55, no. 17 (illustrated).

LITERATURE:

J. Gili, "La doble jaula,” Lápiz 22, no. 195, July 2003, p. 50 (installation view illustrated).

F. Colpitt, “Robert Ryman, Dallas Museum of Art.” Art US, no. 14, Summer 2006, p. 63 (illustrated).

This work will be listed as number 1997.007 in the forthcoming catalogue raisonné being organized by David Gray.

KAZUO SHIRAGA

(1924-2008)

Hoshōkai (Lop Nur)

signed in Japanese (lower right); signed again in Japanese, titled and dated 'Nov 1988 Hoshōkai' (on the reverse) oil on canvas

71¿ x 89¡ in. (181 x 227 cm.) Painted in 1988.

$4,000,000-6,000,000

PROVENANCE:

Private collection, Japan

Axel Vervoordt Co., Antwerp Acquired from the above by the present owner, 2012

EXHIBITED:

Tokyo Gallery, Kazuo Shiraga Solo Exhibition, January 1990, n.p. (illustrated).

Toyoshina, Azumino Municipal Museum of Modern Art, Kazuo Shiraga: Painting Born out of Fighting, April-June 2009, p. 159 (illustrated).

New York, Mnuchin Gallery, Kazuo Shiraga, February-April 2015, pp. 74-77 and 103 (illustrated).

LITERATURE:

B. Davis, "Ben Davis On Why Kazuo Shiraga Was One of the World’s Most Radical Painters and Still Is", Artnet News, 20 February 2015 (illustrated).

PIERRE SOULAGES

(1919-2022)

Peinture 130 x 89 cm, 8 mars 1956

signed and dated 'Soulages 56' (lower right); signed again 'SOULAGES' (on the reverse) oil on canvas 51º x 35 in. (130 x 89 cm.) Painted in 1956.

$3,000,000-5,000,000

PROVENANCE:

Galerie Stangl, Munich, 1956 Private collection, 1960 Acquired from the above by the present owner, 2018

LITERATURE:

P. Encrevé, Soulages, L’œuvre complet, Peintures I. 1946-1959 Paris, 1994, p. 200, no. 224 (illustrated).

STURTEVANT (1924-2014)

Johns Painting with Two Balls

stenciled with the artist's name and title and dated 'PAINTING WITH TWO BALLS 1987 STURTEVANT' (lower edge); signed again, titled again and dated again '"Johns Painting with Two Balls" e. sturtevant '87' (on the reverse) encaustic and paper collage on three joined canvases with metal brackets and two balls

65 x 54¿ in. (165.1 x 137.5 cm.)

Executed in 1987.

$500,000-700,000

PROVENANCE:

Stefan Stux Gallery, New York

Bess Cutler Gallery, New York

Private collection, United States, 1988

Anon. sale; Phillips, New York, 14 November 2019, lot 3

Acquired at the above sale by the present owner

EXHIBITED:

New York, Stux Gallery, Sturtevant., 1987, n.p. (illustrated).

Württembergischer Kunstverein Stuttgart; Deichtorhallen Hamburg, Nice, Villa Arson, STURTEVANT, June 1992-March 1993, p. 81 (illustrated).

LITERATURE:

R. Smith, "Art: Sigmar Polke's Witty Disappearing Act", The New York Times, 6 November 1987, p. 32. J. Waters and B. Hainley, Art - A Sex Book, New York, 2003, pp.18, 20-21 and 203 (illustrated).

L. Maculan, ed., Sturtevant: Catalogue Raisonné 1964-2004, Ostfildern-Ruit, 2004, p. 52, no. 31 (illustrated).

ALMA THOMAS (1891-1978)

A Fantastic Sunset

signed, titled and dated '"a Fantastic Sunset" Alma W. Thomas 70' (on the reverse) acrylic on canvas 48 x 48 in. (121.9 x 121.9 cm.) Painted in 1970.

$2,000,000-3,000,000

PROVENANCE:

Private collection, Philadelphia

Private collection, St. Louis

Anon. sale; Christie's, New York, 13 November 2019, lot 26

Private collection, New York

Acquired from the above by the present owner

EXHIBITED:

Washington, D.C., The Art Barn, First Invitational Exhibit, May 1971.

Baltimore, Morgan State College Gallery of Art, Black Matri-Images: A Retrospective Exhibition of Paintings by Laura Wheeler Waring and Paintings and Prints by Elizabeth Catlett, Lois Jones, Alma W. Thomas, December 1972-January 1973, n.p., no. 70.

Washington, D.C., Smithsonian National Museum of African Art, CONVERSATIONS: African and African American Artworks in Dialogue from the Smithsonian National Museum of African Art and the Camille O. and William H. Cosby Collections, November 2014-January 2016, p. 208, pl. 120 (illustrated).

LITERATURE:

Alma W. Thomas, exh. cat., New York, Whitney Museum of American Art, 1972, p. 1.

M. A. Foresta, A Life in Art: Alma Thomas, 1891-1978, Washington, D.C., 1981, p. 45 (titled Astronauts See a Fantastic Sunset). D. C. Driskell, The Other Side of Color, San Francisco, 2001, p. 42, pl. 21 (illustrated). Everything is Beautiful, exh. cat., Columbus Museum, 2021, pp. 24, 125, fig. 8 (installation view illustrated).

MARK TOBEY (1890-1976)

Burst of Spring

signed, inscribed and dated 'Tobey 64 Bâle' (lower right) tempera, wax crayon and graphite on paper 45Ω x 24æ in. (115.5 x 62.8 cm.) Painted in 1964.

$400,000-600,000

PROVENANCE:

Otto Seligman Gallery, Seattle

Mr. and Mrs. Arthur L. Dahl, Pebble Beach

Mr. and Mrs. Sheffield Phelps, Seattle Private collection, New York

Acquired from the above by the present owner

EXHIBITED:

Los Angeles, Municipal Art Gallery, Pacific Heritage, March-April 1965, n.p., no. 6 (illustrated). Palo Alto, Stanford University Art Gallery; Lincoln, University of Nebraska Art Gallery; Chicago, Roosevelt University Art Gallery; University of California Santa Barbara Art Gallery, Mark Tobey: Paintings from the Collection of Joyce and Arthur Dahl, June-October 1967, pp. 23 and 44, no. 55, pl. 25 (illustrated).

Dallas Museum of Fine Arts, Mark Tobey

Retrospective, March-April 1968, no. 111.

Seattle, Foster/White Gallery, Mark Tobey, May 1973, n.p., no. FW27 (illustrated).

New York, Pace Gallery, Mark Tobey, October 2018-January 2019, n.p., no. 66 (illustrated).

LITERATURE:

H. J. Weeks, "Pacific Heritage," Artforum, vol. 3, no. 8, May 1965, p. 50.

H. Haggie, "Tobey Collection Beautiful, Serene in Tasteful Setting," The Lincoln Star, 10 September 1967, p. 64.

M. Tobey and A. Dahl, Mark Tobey: Art and Belief, Norway, 1984, pp. 31 and 118, no. 10 (illustrated).

Achim Moeller, Managing Principal of the Mark Tobey Project LLC, has confirmed the authenticity. The work is registered in the Mark Tobey archive with the number MT [396-04-07-23].

LEE UFAN (B.

1936)

From line

signed and dated 'L. Ufan 78' (lower right); signed again, titled and inscribed 'From line No. 780197, Lee Ufan' (on the reverse) glue and mineral pigment on canvas 51º x 64 in. (130.2 x 162.3 cm.) Painted in 1978.

$1,200,000-1,800,000

PROVENANCE:

The artist Pace Gallery, New York Acquired from the above by the present owner, 2015

EXHIBITED:

New York, PaceWildenstein, Lee Ufan, September–October 2008, p. 17 (illustrated).

CHRISTOPHER WOOL (B.

1955)

Untitled

signed, titled, inscribed and dated 'WOOL 1993 UNTITLED (P185)' (on the reverse) enamel on aluminum 78 x 60 in. (198 x 152.4 cm.) Executed in 1993.

$15,000,000-20,000,000

PROVENANCE:

Luhring Augustine, New York

Acquired from the above by the present owner, 1994

Christopher Wool’s ‘Untitled’ is an exceedingly rare multi-colored example from the artist’s iconic series of word paintings. While most are rendered in thick black text stenciled on a white aluminum ground, this polychromed panel lays bare the artist’s interest in the perception of both painting and textual information in reaction to daily life and the urban environment. Jeff Koons addressed the complexity of his fellow conceptual artist’s oeuvre, noting, “Wool’s work contains continual internal/external debate within itself. At one moment his work will display self-denial, at the next moment solipsism. Shifting psychological states, false fronts, shadows of themselves, justify their own existence…. Wool’s work locks itself in only to deftly escape through sleight of hand. The necessity to survive the moment at all costs, using its repertoire of false fronts and psychological stances is the work’s lifeblood” (J. Koons, cited in Christopher Wool, exh. cat., New York, Solomon R. Guggenheim (and travelling), 2013, p. 35). Untitled peels away the hard layers of the city to reveal the artist’s hand. Viewed from afar, it retains the shocking immediacy of the monochrome word paintings, its slogan cut and rearranged by the artist into a sort of visual poetry. However, upon closer inspection, the subtleties of the painter’s process make themselves known. By allowing for this duality, Wool asks us to reconsider our relationship with text and its link to information while also commenting on the nature of symbols, language, and the art of painting.

Acquired by the present owner just a year after it was painted, Untitled has an especially active surface, a fact that is only further emphasized by Wool’s use of colored paint to render each block letter. Using the whole spectrum, he spells out the phrase “FUCKEM IF THEY CANT TAKE A JOKE”, omitting punctuation and ignoring proper spacing as he does in the rest of the series. The use of color here gives a deeper insight into Wool’s seemingly straightforward process. In the black works, one could be excused for thinking each stenciled glyph was applied in order until the phrase of completed. However, in this particular example, one is rewarded for looking closer. Under higher scrutiny, it becomes clear that Wool painted the letters in one color before returning to overpaint in a different shade. The dripping, pulsating pigment on the surface hides this initial coat in some cases, but in others, like the first ‘K’ and the ‘F’ of the word ‘IF’, the base layer pushes through. In the first ‘C’, a halo of red glows beneath the verdant green, and in the ‘T’ below a yellow aura radiates on the edge of midnight blue. It oozes at the periphery of the otherwise clean and orderly shapes and, juxtaposed with the vertical drips of paint, helps to create a visually dynamic composition that oscillates between being readable as text or image. Furthermore, the grain of the coarse brush is visible in each stroke as light catches darker undercoating peering through thin coverage areas. By creating this visual intrigue, Wool successfully disconnects our normal habit of reading letters for information and instead allows us to explore the pictorial qualities presented.

Jasper Johns, Numbers in Color, 1958-1959. Albright-Knox Gallery, Buffalo. © 2023 Jasper Johns / Licensed by VAGA at Artists Rights Society (ARS), NY. Photo: Bridgeman Images.

John Baldessari, Everything is Purged..., 1966-1968. © John Baldessari 1966-1968. Courtesy Estate of John Baldessari © 2023.

Opposite: Present lot illustrated (detail).

The word paintings are inextricably linked to the buzzing energy of urban space, specifically New York City. Pulling inspiration from a variety of sources, Wool transmutes words and found phrases into blaring aphorisms. By doing so, he separates the letters and sentences from their origins in an attempt to investigate language itself and its place in our daily lives. “He has long been fascinated by the way words function when removed from the quiet authority of the page and exposed to the cacophony of the city, whether through the blaring incantations of billboards and commercial signage or the illicit interventions of graffiti artists,” noted Katherine Brinson on the occasion of Wool’s 2013 exhibition at the Guggenheim Museum in New York, “But with their velvety white grounds and stylized letters rendered in dense, sign painter’s enamel that pooled and dripped within the stencils, the word paintings have a resolute material presence that transcends the graphic.” (K. Brinson, Ibid., p. 40). Embracing the bold style of tags and street art, Wool creates an amalgam that pulls the audience in immediately.

Wool studied painting for a brief period at the New York Studio School before dropping out to explore the thriving music and underground film scene happening in the late 1970s and 80s. This segue would prove revelatory for his art practice later on as he re-emerged as a painter of abstractions that took ideas of aesthetics and ornament to task. Channeling the nonstop energy of the East Village and similar cultural neighborhoods during that period, he looked to the same urban markers of culture and creative progress as his peers like Jean-Michel Basquiat and Keith Haring. Glenn O’Brien remarked about this connection, noting, “Basquiat loved the ‘do-it-yourself’ bilingual bricolage esthetic of Alphabet City, the district of improvisational bootstrap enterprise. Wool, another far-Eastsider, has a similar romance with the fringe New York, the no man’s land, the interzone, the DMZ, and the ruins of concrete jungle. Where Basquiat gleaned pop cues from that world, Wool finds an alphabet of symbolic abstractions” (G. O’Brien, “Apocalypse and Wallpaper,” in H. W. Holzwarth, ed., Christopher Wool, Cologne, 2012, pp. 10-11). Especially interested in the role of graffiti, stencils, and reproducible imagery, Wool’s practice hovered between expressive experimentation and Pop. When these two elements met in his studio, he successfully pulled the outside chaos of the city into his work and transfigured base elements into talismans of the era.

The word painting series had its origins on the streets of Manhattan. While walking in his Lower East Side neighborhood in the late 1980s, Wool happened upon a brand new truck covered in the simplest of graffiti. On the white metal of the vehicle, someone had spray-painted the words ‘SEX LUV’ in stenciled letters. The immediacy of the fresh paint on the pristine metal captivated the artist and he recalls returning to his studio immediately to create a work using the same tactics. This first iteration spawned numerous variants in black and white until 1993 when the current example was realized in vivid color. The words and letters that Wool uses in these paintings function more as a tool for exploration rather than simple information providers.

Opposite: New York City subway, circa 1980.

Photo: Barbara Alper / Getty Images.

“Basquiat loved the ‘do-it-yourself’ bilingual bricolage esthetic of Alphabet City, the district of improvisational bootstrap enterprise. Wool, another far-Eastsider, has a similar romance with the fringe New York, the no man’s land, the interzone, the DMZ, and the ruins of concrete jungle. Where Basquiat gleaned pop cues from that world, Wool finds an alphabet of symbolic abstractions.”

GLENN O’BRIEN

Though his text-based innovations were the artist’s breakthrough series, they fit cohesively into a larger investigation that has spanned the entirety of Wool’s career. In the late 1980s, around the time that he began the word paintings, the painter noticed a worker using a specialized roller made for painting repeating patterns on walls as a cheaper alternative to wallpaper. Fascinated by this process, Wool began a series that employed a similar device but swapped in black enamel to more fully emphasize the graphic qualities of the design when applied to a panel of white-painted aluminum. In conversation with the word paintings, these roller paintings engage in a similar mode of inquiry that takes into consideration found forms and self-imposed limitations inherent to the method of production. Stencils, the rollers, and later works that leverage silkscreening all point to Wool’s ability to make work that juxtaposes evidence of the working process with the dynamism of the end result. Ann Goldstein, writing about this fact for a retrospective of Wool’s work, noted, “Through process, technique, scale, composition, and imagery, Wool’s work accentuates the tensions and contradictions between the act of painting, the construction of a picture, its physical attributes, the visual experience of looking at it, and the possibilities of playing with and pushing open the thresholds of its meanings. They are defined by what they’re not – and what they hold back” (A. Goldstein, cited in Christopher Wool, exh. cat., Los Angeles, The Museum Of Contemporary Art (And Travelling), 1998, P. 263). By emphasizing process and highlighting ‘mistakes’ like drips and uneven application, Wool addresses painting itself through a conceptual lens.

At their core, Wool’s word paintings are an exceptionally nuanced conversation about text and image relationships, semiotics, and the ways in which we absorb and deliver information in a language-based society. Using letters and words as his subject, the meaning one extracts from the artist’s wry phrases are only the beginning of a true understanding of pieces like Untitled. Indeed, the present example makes this more clear than any of its brethren, making it a particularly important member of the group. By fixating on color and the overlap of paint in conjunction with the words themselves, Wool sets up an internal dialogue about ways of looking. In a conversation about this subject with Martin Prinzhorn, the artist admits, “I always considered myself involved with painting. I can’t imagine someone seeing one of those and not realizing it’s a painting. I think, the way I used text was not didactic. I was not speaking about art, I was just making paintings. The text was more subject than anything else” (C. Wool, cited in M. Prinzhorn, “Conversation with Christopher Wool”, Museum in Progress, 1997, online). Instead of painting cityscapes or emotive abstractions to parse through his lived urban experience, Wool takes on text and language as his focal point, thus addressing a more universal subject that resonates on different levels with a wide array of viewers.

Stencil, New York, circa 1985.

Photo courtesy of Tristan Manco. Opposite: Present lot illustrated (detail).

“I always considered myself involved with painting. I can’t imagine someone seeing one of those and not realizing it’s a painting. I think, the way I used text was not didactic. I was not speaking about art, I was just making paintings. The text was more subject than anything else.”

CHRISTOPHER WOOL

CHRISTOPHER WOOL (B.

1955)

Untitled

signed, titled, inscribed and dated '(P314) UNTITLED WOOL 2000' (on the stretcher)

silkscreen ink on linen

90 x 60 in. (228.6 cm. x 152.4 cm.) Executed in 2000.

$1,500,000-2,000,000

PROVENANCE:

Luhring Augustine, New York

Eleni Koroneou Gallery, Athens

Private collection, Greece

Private collection, New York

Acquired from the above by the present owner, 2013

EXHIBITED:

Athens, Eleni Koroneou Gallery, Christopher Wool, June-July 2000.

A CENTURY OF ART:

FIGURATION

Figuration has dominated art for 30,000 years, dating back to the earliest marks made by humans in the caves of Sulawesi and Lascaux. Yet with the advent of abstraction around a century ago, almost overnight, the art of Leonardo, Botticelli, Rubens, and Ingres suddenly seemed redundant. The development of photography in the middle of the nineteenth century allowed for inexpensive and easily reproducible images to become readily available; meaning that painting had to be about something rather that someone. Apollinaire’s 1912 proclamation that young artists “want to make pure painting… an entirely new art form” ushered in a period of radical change. Yet—despite the odds—figuration refused to relinquish its relevance.

Man Ray is an artist who stood at this crossroads, at the juncture of figuration and abstraction. Alluding to both the real and the imagined, his works were variously aligned to Cubism, Futurism, Dada, and Surrealism as he worked in a wide variety of media including painting, photography, sculpture, printmaking, film, poetry and prose. The early 1923 portrait of his muse, Kiki de Montparnasse, encompasses many of the conceptual and technical challenges that so absorbed Man Ray, defiantly figurative, yet displaying the elements of abstraction that began to captivate his contemporaries.

In response to the challenges posed by abstraction, artists had to constantly reassess what the medium of painting stood for. One of the most radical retorts was the emergence of Cubism; ostensibly a reduction of three-dimensional objects into two-dimensional forms, the human figure remained a constant source of inspiration. Throughout his life, Pablo Picasso was the most resolute of figurative painters. Although not a painter of Realism, his coterie of female acquaintances provided him with the subject for some of the most inventive figurative paintings of the last 100 years. By reducing the complexity of the three-dimensional form to a series of planes of color, he energized the genre and ensured its continued influence. Painting the figure was a constant in Picasso’s life; from his early Cubist masterpieces such as Les Demoiselles d’Avignon to later paintings such as his forceful Buste d’homme laué from 1969, the figure remained an essential part of his oeuvre

“There is no abstract art. You must always start with something. Afterward you can remove all traces of reality.”

PABLO

PICASSO (QUOTED IN D. ASHTON, ED., PICASSO ON ART: A SELECTION OF VIEWS, NEW YORK, 1972, P. 64).

Pablo Picasso in his studio, circa 1950.

© 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Photo: Robert Doisneau/ Gamma-Legends / Getty Images.

Pablo Picasso, Mousquetaire à l’épée II, 1972. Ludwig Museum of Contemporary Art, Budapest, Hungary.

© 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Image: Bridgeman Images.

Opposite: Pablo Picasso, Buste d’homme lauré, 1969.

© 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

During the height of abstraction, in the decades that book-ended World War II, painters ricocheted between the two compositional extremes, and sometimes landed in the middle. It wasn’t until the 1970s that figuration in its fullest form re-emerged. Painters such as Barkley Hendricks and Alex Katz championed bold canvases featuring subjects that they often knew well, but who remained elusive to many who viewed them. Eschewing fine representational detail, these painters use of vibrant color and bold brushwork ensures that the success of their canvases was due to the sheer force of their subject’s presence.

Alice Neel was one of the most prominent American figurative painters of the latter part of the twentieth century. Painting in a realist style that was distinctly her own, Neel’s subjects infused her paintings with a strong social conscience. Her oeuvre represents a brilliant compilation of the people of New York and those who interested her: friends, neighbors, strangers on the street, family, and political and art world personalities. Throughout her life, she painted men, women, children and couples, ranging from the young, rich and poor, all of whom are rendered with a timeless validity. In a period that prized abstraction, Neel found a new way to approach the genre of realist portraiture.

The development of photography has long been considered one of the contributing factors in the decline of figurative painting early on, but some artists took the medium as a starting point for their own work. Using photographs that he found in newspapers, magazines and other sources, Gerhard Richter proceeded to disrupt the perceived sanctity of the photographic image by disrupting the surface and blurring the image. Shrouded in ambiguity, Richter’s nude figures in Badende shift in and out of focus, their limbs dissolving into abstract patterns. Their features, blurred to the point of anonymity, place them eternally beyond the viewer’s grasp.

Alice Neel at the opening of her show at the Graham Gallery, New York, 1968.

Photo: Fred W. McDarrah / MUUS Collection via Getty Images.

Artwork: © The Estate of Alice Neel. Courtesy The Estate of Alice Neel and David Zwirner.

Alex Katz, 1964.

Photo: Jack Mitchell / Getty Images. Artwork: © 2023 Alex Katz / Licensed by VAGA at Artists Rights Society (ARS), NY.

Opposite: Alice Neel, The De Vegh Twins, 1975 (detail).

© The Estate of Alice Neel. Courtesy The Estate of Alice Neel and David Zwirner.

“One of the reasons I painted was to catch life as it goes by, right hot off the griddle, because when painting or writing are good, it’s taken right out of life itself, in my mind.”

ALICE NEEL, 1978

Pictures Generation artists such as Cindy Sherman and Richard Prince heavily featured and celebrated the individual, but—using the narrative language film, television, and the movies—delivered a biting critique of the lack of political and social change in America, caused—in part—by the dominance of the mass media.

One of the artists who adopted a postmodern approach to figuration was Jeff Koons. In his sculpture Kiepenkerl, the artist incorporated the archetypes of public monumental sculpture—arguably one of the most visible forms of figurative art, imbuing it with his more contemporary interests in the power of the surface and materials. Similarly, Richard Prince’s Nurse Kathy integrates the culture of mass produced pop culture images with the painterliness of abstraction to produce intoxicating canvases which traverse both influential movements.

In the twenty-first century, in the wake of social justice movements that have sprung up all over the world, figuration has taken on a renewed relevance for a new generation of artists. Taking the genre’s historic importance, and making full use of its abundant flexibility, these painters have produced some of the most exciting, relevant, perceptive, and effective paintings over the past 100 years. As identity becomes more and more important to individuals, figurative painting becomes the perfect way of painting the true-self.

Richard Prince, Untitled (Cowboy), 1999. © Richard Prince.

Jeff Koons, Kiepenkerl (Humpty Dumpty), 1987. © Jeff Koons. Photo: Tomasz Samek.

Opposite:

Gerald Fineberg residence, New York.

Artwork: © Gerhard Richter 2023 (0089).

JEAN-MICHEL BASQUIAT (1960-1988)

Brain

signed and dated' Jean-Michel Basquiat 85' (on the underside of the bootblack stand) acrylic, oilstick, Xerox paper collage and gesso on twenty-seven wood blocks with bootblack stand overall: 48 x 43Ω x 17 in. (122 x 110.5 x 45.7 cm.) Executed in 1985.

$3,000,000-5,000,000

LITERATURE:

PROVENANCE: Diego Cortez Arte Ltd., New York

Acquired from the above by the present owner, 1990

EXHIBITED:

New York, Whitney Museum of American Art; Houston, Menil Collection; Des Moines Art Center; Montgomery Museum of Fine Arts, Jean-Michel Basquiat, October 1992-January 1994, p. 207 and 266 (illustrated).

Boston, Museum of Fine Arts; Miami, Pérez Art Museum, Writing the Future: Basquiat and the HipHop Generation, October 2020-July 2021, pp. 164-165 and 195, no. 117 (illustrated).

E. Navarra, J.L. Prat, et al, Jean-Michel Basquiat, Paris, 1996, vol. 2, pp. 142-143, no. 10 (illustrated).

E. Navarra, J.L. Prat, et al, Jean-Michel Basquiat, Paris, 2000, vol. 2, pp. 238-239, no. 10 (illustrated).

D. Murray and G. Lock, eds., The Hearing Eye: Jazz & Blues Influences in African American Visual Art, Oxford, 2009, p. 279.

E. Fretz, Jean-Michel Basquiat: A Biography, New York, 2010, pp. 140, 142, 180 and 191.

J. M. Saggese, Reading Basquiat: Exploring Ambivalence in American Art, Berkeley, 2014, pp. 77 and 212.

J. M. Saggese, ed., The Jean-Michel Basquiat Reader: Writings, Interviews, and Critical Responses, Berkeley, 2021, p. 235.

Dmitri Kasterine, Jean-Michel Basquiat, New York, 1988.

Artwork: © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York.

Opposite: Present lot illustrated (detail).

LOUISE BOURGEOIS

(1911-2010)

Nature Study

carved with the artist’s signature and date ‘L. Bourgeois. 1986.’ (on the side edge) pink marble

29Ω x 34 x 29Ω in. (74.9 x 86.4 x 74.9 cm.) Executed in 1986.

$1,500,000-2,500,000

PROVENANCE:

Robert Miller Gallery, New York

Acquired from the above by the present owner, 1986

EXHIBITED:

New York, Robert Miller Gallery, Louise Bourgeois, May-June 1986.

LITERATURE:

D. Kuspit, "Louise Bourgeois: Where Angles Fear to Tread," Artforum, March 1987, p.117 (illustrated).

R. Storr, Intimate Geometries: The Art and Life of Louise Bourgeois, New York, 2016, p. 499 (detail illustrated).

“Since the fears of the past were connected with the functions of the body, they reappear through the body. For me, sculpture is the body. My body is the sculpture.”

LOUISE BOURGEOIS

Opposite: Louise Bourgeois in her studio, New York, 1982.

Photo: Jack Mitchell / Getty Images. Artwork: © 2023 The Easton Foundation / Licensed by VAGA at Artists Rights Society (ARS), New York.

JOSEPH CORNELL

(1903-1972)

Untitled (Medici Variant)

signed 'Joseph Cornell' (on a paper label affixed to the reverse) wood box construction–wood, tinted glass, paint, nails, marbled paper and printed paper collage 18¬ x 11º x 4¡ in. (47.3 x 28.6 x 11.1 cm.)

Executed in 1954.

$600,000-800,000

PROVENANCE:

Private collection, acquired directly from the artist

ACA Galleries, New York

Private collection, United States, 1991

Dickinson, New York

Acquired from the above by the present owner

EXHIBITED:

New York, Dickinson, Beauty Shared: A Collector's Vision, April-June 2019, pp. 20-21 (illustrated).

ANDREAS GURSKY (B.

1955)

Chicago, Board of Trade

signed, titled, numbered and dated 'Chicago Board of Trade, '97, 3/6, A. Gursky' (on the reverse) chromogenic print, in artist's frame 72Ω x 94Ω in. (240 x 184.12 cm.)

Executed in 1997. This work is number three from an edition of six.

$600,000-800,000

PROVENANCE:

Matthew Marks Gallery, New York Acquired from the above by the present owner, 2003

EXHIBITED:

New York, Matthew Marks Gallery, Andreas Gursky, November 1997-January 1998 (another example exhibited).

Kunsthalle Düsseldorf, Andreas Gursky: Fotografien 1984 bis heute, August-October 1998, p. 32 (another example exhibited and illustrated).

London, Architectural Association, Reconstructing Space: Architecture in Recent German Photography, April-May 1999, p. 92 (another from the edition exhibited and illustrated).

Aspen Art Museum, 20 Years/20 Artists, 1999, n.p., no. 19 (another from the edition exhibited and illustrated).

Kunstmuseum Wolfsburg; Fotomuseum Winterthur; London, Serpentine Gallery; Edinburgh, Scottish National Gallery of Modern Art; Turin, Castello di Rivoli, Museo d'arte contemporanea; Lisbon, Cento Cultural de Belém, Andreas Gursky: Fotografien 1994-1998, May 1998-January 2000, pp. 60 and 61 (another example exhibited and illustrated).

Stuttgart, Zentrum für Kunst und Medien, just what is it, 100 Years of Modern Art from Private Collections in Baden-Württemberg, December 2009-April 2010, pp. 326-327 and 371 (another example exhibited and illustrated).

LITERATURE:

P. Schjeldahl, "Gurskyvision," Village Voice, no. 42, 16 December 1997, p. 101 (illustrated).

R. Bevan, "Gursky at the Serpentine", Art & Auction, 11 January 1999, p. 83 (illustrated).

M. Gautier, "Vues imprenables sur readymades: La photographie selon Andrew Gursky", Les Cahiers, no 67, Spring 1999, p. 70.

R. Golden, Photography: Complete Guide to the Greatest Artists of the Photographic Age, London, 1999, p. 97 (illustrated).

BARKLEY L. HENDRICKS (1945-2017)

Stanley

signed and dated 'B Hendricks '71' (upper right) oil on canvas

72 x 49¬ in. (182.8 x 127 cm.) Painted in 1971.

$5,000,000-7,000,000

PROVENANCE:

Kenmore Galleries, Philadelphia

Janet and Joseph Shein, Pennsylvania Richard Gray Gallery, Chicago Private collection, Houston, 2013 ACA Galleries, New York

Acquired from the above by the present owner

EXHIBITED:

New York, Karma, Kinder Gentler Nation, January-February 2018, n.p., no. 21 (illustrated).

Painted when the artist was only 26 years old, Barkley L. Hendricks’s Stanley is a testament to a formative friendship. Hendricks and Stanley Whitney, the canvas’s eponymous subject, met while studying art at Yale University in the 1970s. Whitney, who would go on to be a legendary painter in his own right, looked up to Hendricks. He remembers, “I was so jealous of Barkley because he always knew what he wanted to paint, and I had no idea then” (S. Whitney, quoted in K. Crow, “The Friendship Behind a $5 Million Barkley L. Hendricks Painting,” Wall Street Journal, March 16, 2023). Their friendship became an aesthetic dialogue, evinced by this striking, monumental painting that presents Whitney as a Byzantine icon or one of Gustav Klimt’s ethereal, allegorical portraits. The pair could not have foreseen the afterlife of Stanley and its contemporary resonance. “All we wanted to do was talk about art,” Whitney said. “We had no idea we were doing anything historic” (S. Whitney, quoted in K. Crow, “The Friendship Behind a $5 Million Barkley L. Hendricks Painting,” Wall Street Journal, March 16, 2023). Yet Stanley was and remains historic. Both a likeness and a history painting, Stanley is the brainchild an idealistic and gifted student working within a generative moment in art and culture.

The life-size, six-foot-tall Stanley depicts the young Whitney as effortlessly cool, and casually dressed in dark bellbottoms and a forest green jacket. He wears a patterned hat composed of orange, purple, and green that mirrors his striped shirt. Like a Greco-Roman statue, he stands in contrapposto, both relaxed and prepared for motion. Whitney averts his gaze, thereby reminding us of the unknowability of every great portrait, and indeed every person. In fact, a central component of Stanley, perhaps paradoxically for a representational portrait, is the purposeful obscurity. We do not have full access to Whitney’s image or inner life. This is epitomized by Hendricks’s cropping, which, like a candid photograph, cuts off the full length of Whitney’s body. Caught in a cinematic moment, Whitney calmly smokes a cigarette, and he is self-assuredly indifferent to our gaze.

There is an almost surreal quality to Hendricks’s portraits, according to scholar of Black contemporary art, Huey Copeland, “Ostensibly frontal, Hendricks’s paintings slyly induct us into a hall of mirrors and subjects who cast no shadows” (H. Copeland, “Figures and Grounds: The Art of Barkley L. Hendricks,” Artforum, Vol. 47, No. 8, April 2009, p. 148). There is so much beauty to this opacity. Stanley transforms Whitney from an individual into an archetype, a legend with a vast and uncharacterizable history. Noting this complexity, curator Thelma Golden told Hendricks in an interview, “You really were able to capture not only the profound sense of looking at someone but also at someone looking out in the world” (T. Golden, quoted in T. Schoonmaker, Barkley L. Hendricks: Birth of the Cool, exh. cat., Durham, Nasher Museum of Art at Duke University, 2008, p. 59). Likewise, Whitney looks just outside the frame, and while he does not beckon the viewer’s eye contact, there is a thrilling possibility of connection.

“Ostensibly frontal, Hendricks’s paintings slyly induct us into a hall of mirrors and subjects who cast no shadows.”

HUEY COPELAND

Opposite: Barkley Hendricks, Self Portrait with Black Hat, 1980. © Barkley L. Hendricks. Courtesy of the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York.

Given his range of references and media, Hendricks’s work is interdisciplinary. His celebrated retrospective at the Nasher Museum of Art was titled Birth of the Cool, which refers to the legendary compilation album by jazz musician and painter Miles Davis. For the album, he gathered a group of musicians who sought to create an avant-garde sound, “[The participants] were developing a range of tools that would change the sound of contemporary music. In their work together, they relied on a rich palette of harmonies, many of them drawn from European Impressionist composers…[and] they adopted a more lyrical approach to improvisation” (T. Gioia, The Birth (And Death) of the Cool, Golden, Colorado, 2009, p. 83). The same is true of Stanley, which could be compared to Pierre-Auguste Renoir’s fulllength Impressionist dancing scenes, like Dance at Bougival (1883). Hendricks uses techniques of an earlier era to timeless emotional effect. He sought to harness history as a tool without being subsumed to it, which is also a political gesture.

In Stanley, Hendricks mobilizes a deep art historical knowledge in order to create this contemporary portrait. “He would tell me, ‘Rembrandt painted his world, and I’m painting mine,’” Whitney recalls (S. Whitney, quoted in K. Crow, “The Friendship Behind a $5 Million Barkley L. Hendricks Painting,” Wall Street Journal, March 16, 2023). An interesting comparison might be Rembrandt’s Portrait of Maerten Soolmans (1634), a rare full-length portrait in the artist’s oeuvre. Portrait of Maerten Soolmans, like Stanley, was painted when the artist was in his twenties. Moreover, Hendricks and Rembrandt were also skilled at figure drawing and unparalleled draftsmen. Hendricks asserts, “I credit my early training of life model figures…I had the knowledge of how light works on the epidermis” (B. Hendricks, quoted in Z. Whitley, “American Skin: Artists on Black Figuration,” in Soul of a Nation: Art in the Age of Black Power, 1963-1983, exh. cat., London, Tate Modern, 2017, p. 195). His skill in drawing and painting has inspired a new generation of Black painters who have embraced the rigors of representation, like Lynette Yiadom-Boakye.

“You really were able to capture not only the profound sense of looking at someone but also at someone looking out in the world.”

THELMA GOLDEN

Stanley Whitney at Barkley Hendricks, New York, 2018 (present lot illustrated).

Photo: Brendan Dugan. Artwork: © Barkley L. Hendricks. Courtesy of the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York. Stanley Whitney, Endless Time, 2017. © Stanley Whitney. Photo: Buffalo AKG Art Museum / Art Resource, NY.

Opposite: Barkley Hendricks, Lawdy Mama, 1969.

© Barkley L. Hendricks. Courtesy of the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York.

With passion and technical virtuosity, Hendricks built an unparalleled career of over 50 years. In 1977, he was elected to the American Academy of Arts and Letters, and in 2008, he was awarded the United States Artists Ford Fellowship and the Joan Mitchell Foundation Award. He was included in the landmark 1994 exhibition Black Male: Representations of Masculinity in Contemporary American Art, curated by Thelma Golden. His work was also featured in the historic touring group exhibitions 30 Americans (2008-2022), Blues for Smoke (2012-2013), and Soul of a Nation: Art in the Age of Black Power, 1963-1983 (2017-2020). His acclaimed retrospective, Barkley L. Hendricks: Birth of the Cool, toured the United States, and he also mounted institutional solo shows at the University of Connecticut, Storrs, CT (2011), the Bowdoin College Museum of Art, Brunswick, ME (2017), and the Edward Hopper House Museum and Study Center, Nyack, NY (2020). His work is held in numerous international public collections, including the Tate Modern, London, the Museum of Modern Art, New York, the Andy Warhol Foundation for the Arts, New York, and the Fogg Art Museum at Harvard University, Cambridge. He is currently the subject of a solo show at his longtime gallery, Jack Shainman, New York, and, later this year, Barkley L. Hendricks: Portraits at the Frick will open at the Frick Collection, New York.

Whitney succinctly summarizes Hendricks’s impact, “He wasn’t out to be revolutionary. He just wanted to paint people he loved…He wanted to see Black people exhibited in those museums” (S. Whitney, quoted in K. Crow, “The Friendship Behind a $5 Million Barkley L. Hendricks Painting,” Wall Street Journal, March 16, 2023). So often a painter of the people in his life, Hendricks’s medium could be described as friendship itself, which has so often driven the best painters from Impressionism to Pop. Stanley gives form to a friendship between painters, one invested in representation, the other in abstraction. Hendricks is one of the most important painters of the 20th and 21st centuries exactly because of this open-mindedness and emotional sensitivity. A romantic and a realist, Hendricks’s legacy will only continue to resonate.

Pierre Auguste Renoir, A Dance in the Country, 1883. Musée d’Orsay, Paris.

Photo: Bridgeman Images.

Rembrandt, Portrait of Maerten Soolmans, spouse of Oopjen Coppit, 1834. Rijksmuseum, Amsterdam.

Photo: © RMN-Grand Palais / Art Resource, NY.

Opposite: Gerald Fineberg residence, New York.

Artwork: © Barkley L. Hendricks. Courtesy of the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York; © Richard Prince.

ALEX KATZ (B. 1927)

Ada with Pink Hat

signed 'Alex Katz' (on the overlap) oil on linen

47æ x 47æ in. (120.1 x 120.1 cm.) Painted in 1971.

$1,200,000-1,800,000

PROVENANCE:

Marlborough Gallery, New York, 1972

Private collection, 1973

Marlborough-Godard Gallery, Toronto, 1974 Private collection, Palm Beach

Acquired from the above by the present owner, 2011

EXHIBITED:

Toronto, Marlborough-Goddard Gallery, Alex Katz, February-March 1974.

LITERATURE:

Art Now Gallery Guide, January 1999, n.p. (illustrated).

MARTIN KIPPENBERGER (1953-1997)

Uno di voi, un tedesco in Firenze (One of You, a German in Florence) [Five Works]

(i) Untitled

(ii) Metzger [Butcher]

(iii) Aamando

(iv) Artigiano [Artisan]

(v) Große zensierte titten [Big censored tits] each: oil on canvas each: 23¬ x 19¬ in. (60 x 50 cm.) Painted in 1976-1977.

$500,000-700,000

PROVENANCE:

(i-iv)

Paris Bar, Berlin

Private collection, Italy

Anon. sale; Christie's, London, 27 June 2000, lot 21

Tanya Bonakdar Gallery, New York

Private collection, Europe

Acquired from the above by the present owner, 2002

(v)

Private collection, Germany, acquired directly from the artist, 1978

Anon. sale; Phillips de Pury & Company, New York, 16 November 2007, lot 263

Private collection, Europe

Acquired from the above by the present owner, 2007

LITERATURE:

M. Kippenberger, A. Duchow and J. Krüger, al Vostro servizio, Hamburg and Florence, 1977 (all five works illustrated).

G. Stelly, IHR Kippy Kippenberger: LettersPaintings - Photos - Film 1976-1978, Frankfurt, 2006, pp. 20 (ii), 137 (iii and iv), 148 (ii) and 155 (v) (illustrated).

A. M. Gingeras, "Performing the Self: Martin Kippenberger", ARTFORUM, October 2006.

These works will be included in the forthcoming Catalogue Raisonné of the Paintings, being compiled by the Estate of Martin Kippenberger.

JEFF KOONS (B. 1955)

Kiepenkerl (Humpty Dumpty)

stainless steel

71 x 26 x 37 in. (180.3 x 66 x 94 cm.)

Executed in 1987. This is a unique work, separate from the subsequent edition of three plus one artist's proof.

$3,000,000-5,000,000

PROVENANCE:

Anthony D'Offay Gallery, London Diego Cortez Arte Ltd., New York

Acquired from the above by the present owner, 2000

EXHIBITED:

Münster, Westfälisches Landesmuseum, Sculpture Projects Münster, June-October 1987. San Francisco Museum of Modern Art; Minneapolis, Walker Art Center; Aarhus Kunstmuseum, Jeff Koons: Retrospective, December 1992-October 1993, p. 113 (example from subsequent edition exhibited).

London, Anthony d'Offay Gallery, Jeff Koons: A Survey 1981-1994, June-July 1994 (example from subsequent edition exhibited).

London, Anthony d'Offay Gallery, Sculpture, December 1994-February 1995 (example from subsequent edition exhibited).

Chicago, Museum of Contemporary Art, Universal Experience: Art, Life, and the Tourist’s Eye, February-June 2005 (example from subsequent edition exhibited).

Chicago, Museum of Contemporary Art, Jeff Koons, May-September 2008 (example from subsequent edition exhibited).

Frankfurt, Liebieghaus Skulpturensammlung, Jeff Koons: The Sculptor, June-September 2012, pp. 92-93 (example from subsequent edition exhibited and illustrated).

New York, Whitney Museum of American Art; Paris, Centre Pompidou; Guggenheim Museum

Bilbao, Jeff Koons: A Retrospective, June 2014-September 2015, pp. 20-21, 95, 99, 215, 247 and 287 (example from subsequent edition exhibited and illustrated).

London, Newport Street Gallery, Jeff Koons: Now, May-October 2016, pp. 48-49 and 101 (example from subsequent edition exhibited and illustrated).

Mexico City, Museo Jumex, Appearance Stripped Bare: Desire and the Object in the Work of Marcel Duchamp and Jeff Koons, May-September 2019, p. 236 (example from subsequent edition exhibited and illustrated).

Qatar Museums Al Riwaq Gallery, Jeff Koons: Lost in America, November 2021-March 2022, pp. 74-75 (example from subsequent edition exhibited and illustrated).

LITERATURE:

NY Art Now: The Saatchi Collection, exh. cat., Milan, Giancarolo Politi, 1987, p. 11.

M. Brenson, "Art: The Munster Sculpture Project," The New York Times, 22 June 1987, p. C13.

E. Heartney, "Sighted in Münster," Art in America, no. 9, September 1987, p. 141 (example from subsequent edition illustrated).

D. Cameron, "Documenta 8 Kassel," Flash Art Milan, October 1987, p. 66 (example from subsequent edition illustrated).

S. Schmidt-Wulffen,"Enzyklopädie der Skulptur," Kunstforum, October and November 1987, p. 301 (example from subsequent edition illustrated).

D. Pinchbeck, “Jeff Koons,” Splash, April 1989, p. 69. The Last Decade-American Artists of the 80's, exh. cat., New York, Tony Shafrazi Gallery, 1990, pp. 96-97 and 137 (example from subsequent edition illustrated).

Fondation Daniel Templon, Musee Temporaire, La sculpture contemporaine apres 1970, exh. cat., Paris, Fondation Daniel Templon, 1991, pp. 116117 and 197 (example from subsequent edition illustrated).

A. Muthesius, ed., Jeff Koons, Cologne, 1992, pp. 96-97 (example from subsequent edition illustrated).

J. Koons, The Jeff Koons Handbook, London, 1992, p. 87 (example from subsequent edition illustrated).

L. Morell, "Jeff Koons Interview: The Political Value of Art," Skala, no. 28, 1993, p. 41.

Jeff Koons: A Millennium Celebration - Works from the Dakis Joannou Collection, 1979-1999, exh. cat., Athens, Deste Foundation, 1999, pp. 13 and 35. Jeff Koons Easyfun-Ethereal, exh. cat., Berlin and New York, 2000, p. 8.

Jeff Koons, exh. cat., Kunsthaus Bregenz, 2001, p. 16 (installation view of subsequent example illustrated).

Jeff Koons: Museo Archeologico Nazionale Napoli, exh. cat., Naples, Electa Napoli, 2003, p. 147.

E. Blume and P. K. Schuster, eds., Friedrich Christian Flick Collection im Hamburger Bahnhof, Berlin, Hamburger Bahnhof, 2004, p. 223.

Jeff Koons Retrospektiv, exh. cat., Oslo: Astrup Fearnley Museet for Moderne Kunst, 2004, p. 66.

K. Hixson, “Universal Experience: Art, Life, and the Tourist’s Eye.” Art on Paper, August 2005, p. 62.

S. Canarutto, Jeff Koons (Supercontemporanea Series), Milan, 2006, pp. 50-51 (example from subsequent edition illustrated).

C. Tomkins, "The Turnaround Artist," The New Yorker, 23 April 2007, p. 67.

H. W. Holzwarth, ed., Jeff Koons, Cologne, 2007, pp. 241, 243-244, 246-247, 249 and 250 (example from subsequent edition illustrated).

J. Tully, "Artist's Most Wanted," Art + Auction, November 2008, p. 186 (example from subsequent edition illustrated).

Blitzen-Benz Bang - Daimler Art Collection: Mixed Media, Sculptures, Commissioned Works, exh. cat., Ostfildern, Hatje Cantz, 2009, p. 314.

Hulk Elvis, exh. cat., London, Gagosian Gallery, 2009, p. 15 (example from subsequent edition illustrated).

H. W. Holzwarth, ed., Jeff Koons, Cologne, 2009, pp. 239, 242-243 and 247-248 (example from subsequent edition illustrated).

F. Bonami, Dal Partenone Al Panettone, Milan, 2010, p. 148 (example from subsequent edition illustrated).

B. Finger and C. Weidemann, 50 Contemporary Artists You Should Know, Munich, 2011, p. 69.

H. Liebs, "Mr. Koons?" Monopol: Special Jeff Koons, Berlin, 2012, p. 38.

Jeff Koons: Fondation Beyeler, exh. cat., Basel, 2012, pp. 23, 25, 31, 176, 183 and 206 (example from subsequent edition illustrated).

J. Koons and N. Rosenthal, Jeff Koons: Conversations with Norman Rosenthal, China, 2014, pp. 134 and 228 (detail from a subsequent edition illustrated.)

Jeff Koons: La Retrospective: The Portfolio of the Exhibition, exh. cat., Paris, Centre Pompidou, 2014, p. 69.

Jeff Koons: New Paintings and Sculpture, exh. cat., New York, Gagosian Gallery, 2014, pp. 11-12.

J. Heyler, E. Schad and C. Beck, eds., The Broad Collection, Los Angeles, 2015, pp. 89 and 97 (example from subsequent edition illustrated).

P. Tinari, Jeff Koons: Hulk Elvis, Hong Kong, 2015, pp. 5 and 12.

D. Hopkins, DARK TOYS, New Haven, 2021, p. 153. Jeff Koons: Shine, exh. cat., Venice, Fondazione Palazzo Strozzi, 2021, p. 174-175 (example from subsequent edition illustrated).

S. Aquin, A. Reeve and S. Guttman, Hirshhorn Museum and Sculpture Garden: The Collection, New York, 2022, p. 309 (example from subsequent edition illustrated).

YAYOI KUSAMA (B.

1929)

Pumpkin

$1,500,000-2,000,000

PROVENANCE:

OTA Fine Arts, Tokyo

Acquired from the above by the present owner, 2003

signed, titled in Japanese and dated 'Yayoi Kusama 1991' (on the reverse) acrylic on canvas 28¬ x 35æ in. (72.7 x 90.8 cm.) Painted in 1991.

SIMONE LEIGH

(B. 1967)

109 (Face Jug Series)

salt-fired porcelain

17Ω x 6 x 8Ω in. (44.5 x 15.2 x 21.6 cm.)

Executed in 2019.

$300,000-500,000

PROVENANCE:

Luhring Augustine, New York

Acquired from the above by the present owner

MAN RAY (1890-1976)

Portrait de Kiki

signed 'Man Ray' (upper left); signed again, dated, titled and inscribed '"KIKI" Man Ray 1923 Paris (9)' (on the stretcher) oil on canvas

24¿ x 18 in. (61.3 x 45.6 cm.)

Painted in 1923

$1,000,000-1,500,000

PROVENANCE:

Elsie Ray Siegler, New Jersey (sister of the artist). Naomi and David Savage, Princeton (by descent from the above, 1958, then by descent). Acquired from the above by the present owner, 26 January 2006.

EXHIBITED:

Pasadena Art Institute, Retrospective Exhibition

1913-1944: Paintings, Drawings, Watercolors, Photographs by Man Ray, 1944, no. 15. Princeton University Art Museum, Man Ray: Drawings, Watercolors, Rayograms, Chess Sets, Books, Objects, March-April 1963, no. 9.

New York, Cordier and Ekstrom Gallery, Man Ray: Paintings Before 1950, April-May 1963.

Los Angeles County Museum of Art, Man Ray, October-December 1966, p. 55, no. 32. Rotterdam, Museum Boymans van Beuningen; Paris, Musée national d'art moderne, Centre Georges Pompidou and Humblebaek, Louisiana Museum, Man Ray, September 1971-April 1972, pp. 32 and 114, no. 9 (illustrated, p. 32).

London, The Institute of Contemporary Arts, Man Ray, April-June 1975, p. 4, no. 20.

Antwerp, Galerie Ronny Van de Velde, Man Ray, September-December 1994, no. 421 (illustrated).

New York, Di Donna Galleries, Enigma & Desire: Man Ray Paintings, October-December 2019, pp. 78 and 192 (illustrated in color, p. 79).

LITERATURE: "Grandada" in Time, vol. 81, 17 May 1963, p. 91 (illustrated).

Man Ray, Autoportrait, Paris, 1964, p. 145 (illustrated).

S. Alexandrian, Man Ray, Paris, 1973, p. 13 (illustrated in color).

Janus, Man Ray, Milan, 1973 (illustrated in color, fig. 27).

R. Passeron, Encyclopédie du surréalisme, Paris, 1975, p. 229.

R. Penrose, Man Ray, New York, 1975, pp. 105-107 and 205, no. 61 (illustrated, p. 106).

Man Ray, L’occhio e il suo doppio, dipinti, collages, disegni, invenzioni fotografiche, oggetti d’affezione, libri, cinema, exh. cat., Palazzo delle Esposizioni, Rome, 1975.

A. Schwarz, Man Ray: The Rigour of Imagination, London, 1977, pp. 58-59, 82 and 360, no. 53 (illustrated, p. 82).

Janus, Man Ray: Tutti gli scritti, Milan, 1981, p. 115 (illustrated).

G. Brown, Perpetual Motif: The Art of Man Ray, exh. cat., Smithsonian American Art Museum, Washington, D.C., 1988, pp. 33-34, no. 24 (illustrated in color, p. 34).

B. Klüver and J. Martin, Kiki et Montparnasse, 1900-1930, Paris, 1989, p. 125 (illustrated, fig. 4).

Janus, Man Ray: Œuvres 1909-1972, Milan, 1990, no. 14 (illustrated in color).

Opposite: Present lot illustrated (detail).

Although celebrated for his photographic practice, it was in fact painting that first engaged Man Ray, né Emmanuel Radnitsky, a visionary par excellence. In New York City, where he grew up, Man Ray studied architecture, engineering, and mechanical drafting in high school, but ultimately wanted to become a painter. Visiting the Armory Show in 1913 gave him the courage to take on larger and more radical compositions, and he worked for the rest of the decade on his paintings while dreaming of success and of Europe and its avantgarde. After receiving support from his parents and $500 from the collector Fernand Howald, he set sail for France in July of 1921. Once there, Man Ray installed himself in a small room on rue de la Condamine next door to where his friend Marcel Duchamp was living. Thus began his Paris years.

Through Duchamp, Man Ray was introduced to the Dadaists, and although keen to continue painting, he began to photograph the artists and writers that comprised the city’s avant-garde, including André Breton, Gertrude Stein, Pablo Picasso, and Henri Matisse, among countless others. The “excellence of these portraits” came from Man Ray’s “acute understanding of the way that a character resides in the shape of a head and the manner in which the events of a life are engraved on a face,” a sensitivity that underpins his Portrait de Kiki. Painted in 1923, Portrait de Kiki is an eloquent, intimate depiction of Alice Prin, Man Ray’s muse and lover, known and immortalized as Kiki de Montparnasse (R. Penrose, Man Ray, London, 1975, pp. 85 and 87).

Kiki and Man Ray met, one year earlier, in 1922 in Montparnasse, a district in the south of Paris and the heart of the city’s art world. According to Roland Penrose, Man Ray came to Kiki’s aid as she was caught up in a “spirited dispute” with a patron of a café for her refusal to wear a hat (ibid., p. 91). “Kiki,” remembered Man Ray, “looked around in a rage as if trying to find something to throw at the man” (Self Portrait, Boston, 1963, p. 140). He thought she moved “as gracefully as a gazelle” (quoted in M. Braude, Kiki Man Ray: Art, Love, and Rivalry in 1920s Paris, New York, 2022, p. 34). Indeed, she was always uninhibited and fierce, working as a performer and modelling for artists including Chaim Soutine, Kees van Dongen, and Léonard-Tsuguharu Foujita, and she was also an artist herself. By July of the following year, the two were residing together on the rue Campagne Première, a now-iconic street where Duchamp, Eugène Atget, Louis Aragon, and Giorgio de Chirico, among many others, all lived and

“I paint what cannot be photographed and I photograph what I do not wish to paint.”

MAN RAY

Groups of American and European artists at the Jockey in Paris, circa 1921. Kiki de Montparnasse is in the middle. Man Ray is in the front.

Photo Credit: Stefano Bianchetti / Bridgeman Images.

©

Kees

Man Ray, Le Violon d’Ingres, 1924. Sold Christie’s New York, 14 May 2022, Lot 615.

Opposite: Kiki de Montparnasse in the Café du Dôme, Paris, 1929.

worked. It was here, at their apartment in the Hôtel Istria, that Man Ray painted Kiki, a striking, almost feline depiction that was completed at the height of their relationship. Describing the painting, Penrose wrote, “Kiki sits demurely dressed in brown against a blue-grey background; flesh tones take on an overall ivory color with no modelling. Her provocative eyes and lips beneath a cloche of black hair are the same color as the background, giving a tender but enigmatic unity between painter, portrait and model” (op. cit., p. 107).

Portrait de Kiki is a rare painted portrait by Man Ray and one of only two executed in this style; the other, Portrait of Rrose Sélavy, which depicts Duchamp dressed in the guise of his alter-ego, was completed contemporaneously and is now lost. In his memoirs, Man Ray recounted how Kiki initially refused to be photographed by him: while “a painter could modify the appearance of things,” she felt that a “photograph was too factual” (op. cit., p. 143). Kiki eventually acquiesced and became one of Man Ray’s most famous models, seen in works such as Le Violon d’Ingres, 1924, and Kiki Drinking, 1921.

Unlike the many photographs in which she was posed to fulfill Man Ray’s vision, Portrait de Kiki instead presents an ode to Kiki herself. As André Breton noted, a “portrait of a loved one should not be only an image at which one smiles but also an oracle one questions” and indeed the painting reveals a soul inside (“The Visages of The Woman,” 1934 reprinted in Man Ray 1890-1976, exh. cat., Ronny Van de Velde, Antwerp, 1994, n. p.).

After its completion, Portrait de Kiki remained by descent within Man Ray’s family for over eight decades: he gifted the painting to Elsie Ray Siegler, his sister, before it passed to her daughter Naomi Siegler Savage. As a teenager, Savage attended photography classes taught by Berenice Abbot, who herself had once worked as Man Ray’s assistant. Savage later apprenticed with her famous uncle when he was living in Hollywood, California, and he became both a close friend and mentor.

Man Ray, Kiki Drinking, 1922. Metropolitan Museum of Art.

The Metropolitan Museum of Art. Image: Art Resource, NY.

van Dongen, Portrait d’une femme à la cigarette (Kiki de Montparnasse), 1922-1924. Museo Nacional Thyssen-Bornemisza, Madrid.

Photo: Museo Nacional Thyssen-Bornemisza / Scala / Art Resource, NY.

Photo: ullsteinbild / TopFoto.

RENE MAGRITTE (1898-1967)

La femme au miroir

signed 'Magritte' (lower left); titled '"LA FEMME AU MIROIR"' (on the reverse) oil on canvas

29 x 21¬ in. (73.6 x 54.8 cm.) Painted in 1943

$1,000,000-1,500,000

PROVENANCE:

M. Spiegel, Antwerp (by 1964).

Galerie Isy Brachot, Paris and Brussels (acquired from the above, 1984).

Diego Cortez Arte, Ltd., New York (acquired from the above, March 1986).

Acquired from the above by the present owner, 26 March 1986.

EXHIBITED:

Brussels, Galerie Dietrich, René Magritte, January 1944.

LITERATURE:

J. Van Melkebeke, "A propos d'une exposition: René Magritte" in Le Nouveau journal, 12 January 1944, p. 2.

R. Magritte, Dix tableaux de Magritte précédés de descriptions, Brussels, 1946.

R. Magritte, La destination: Lettres à Marcel Mariën, 1937-1962, Brussels, 1977, pp. 197-198.

D. Sylvester, ed., René Magritte: Catalogue Raisonné, Oil Paintings and Objects, 1931-1948, London, 1993, vol. II, p. 328, no. 548 (illustrated).

TAKASHI MURAKAMI (B.

1962)

signed 'Takashi' (on the reverse of the center panel) triptych—acrylic and platinum leaf on canvas mounted on panel 95Ω x 111 in. (242.6 x 282 cm.) Executed in 2007.

$800,000-1,200,000

PROVENANCE:

Gagosian Gallery, New York Harry and Linda Macklowe, New York Private collection, New York

Acquired from the above by the present owner, 2009

EXHIBITED:

New York, Gagosian Gallery, Takashi Murakami: Tranquility of the Heart, Torment of the Flesh –Open Wide the Eye of the Heart and Nothing is Invisible, May-June 2007.

Los Angeles, Museum of Contemporary Art; Brooklyn Museum of Art; Frankfurt, Museum für Moderne Kunst; Guggenheim Bilbao, ©MURAKAMI, October 2007-May 2009, n.p.(illustrated).

Boston, Museum of Fine Arts, Takashi Murakami: Lineage of Eccentrics: A Collaboration with Nobuo Tsuji and the Museum of Fine Arts, Boston, October 2017-April 2018, n.p. (illustrated).

LITERATURE:

C. Vogel, “The Warhol of Japan Pours Ritual Tea in a Zen Moment,” The New York Times, 7 May 2007, p.E1 (installation view illustrated).

R. Smith, "Art With Baggage in Tow," The New York Times, 4 April 2008, p. E27 (illustrated).

I open wide my eyes but see no scenery. I fix my gaze upon my heart.

ALICE NEEL

(1900-1984)

Pregnant Bette Homitzky

signed and dated 'NEEL '68' (lower right); signed again, titled and dated again 'PREGNANT BETTY - 1968 ALICE NEEL' (on the stretcher) oil on canvas 60 x 36 in. (152.4 x 91.4 cm.) Painted in 1968.

$1,500,000-2,000,000

PROVENANCE: Estate of Alice Neel Robert Miller Gallery, New York Acquired from the above by the present owner, 1987

EXHIBITED: New York, David Zwirner, Alice Neel: Freedom, February-April 2019, pp. 72-73 and 109 (illustrated).

LITERATURE:

P. Hills, Alice Neel, New York, 1983, p. 133 (illustrated).

N. Princenthal, "About Faces: Alice Neel's Portraits," Parkett, 1988, pp. 8 and 16, no. 16 (illustrated).

P. Allara, ""Matter" of fact: Alice Neel's Pregnant Nudes," American Art, vol. 8, no. 2, 1994, pp. 24 and 26, no. 17 (illustrated).

C. Carr, Alice Neel: Women, New York, 2002, p. 149 (illustrated).

C. Kino, "A Grandson Paints a Portrait of a Portraitist," New York Times, April 2007.

A. Hottle, The Art of the Sister Chapel: Exemplary Women, Visionary Creators, and Feminist Collaboration, Burlington, 2014, p. 141, no. 4.15 (illustrated).

Alice Neel: People Come First, exh. cat., New York, Metropolitan Museum of Art, 2021, pp. 41-42, no. 25 (illustrated).

ALICE NEEL (1900-1984)

The De Vegh Twins

signed and dated 'NEEL '75' (lower right) oil on canvas 38 x 32 in. (96.5 x 81.3 cm.) Painted in 1975.

$1,200,000-1,800,000

PROVENANCE:

Estate of Alice Neel

Robert Miller Gallery, New York

Acquired from the above by the present owner, 1985

EXHIBITED:

Edwin A. Ulrich Museum of Art, Wichita State University, Portraits of Alice Neel, March-April 1978.

Philadelphia, Pennsylvania Academy of Fine Arts, Alice Neel: Paintings Since 1970, January-March 1985, n.p. (illustrated).

New York, Robert Miller Gallery, Children, AprilMay 1989.

LITERATURE: P. Hills, Alice Neel, New York, 1983, pp. 137 and 154 (illustrated).

FRANCIS PICABIA (1879-1953)

Sans titre

signed 'Francis Picabia' (lower left) oil and Ripolin on board

41 x 29º in. (104.2 x 74.1 cm.)

Painted circa 1925-1927

$1,500,000-2,000,000

PROVENANCE:

Sennelier, Paris.

Dr. Brown, Paris (acquired from the above, circa 1950, then by descent).

Galerie 1900-2000, Paris (acquired from the above, 2007).

Private collection, Illinois (acquired from the above, 2007).

Acquired from the above by the present owner, 11 October 2017.

LITERATURE:

W.A. Camfield, B. and P. Calté, C. Clements, A. Pierre and A. Verdier, Francis Picabia: Catalogue raisonné, 1915-1927, Paris, 2016, vol. II, p. 406, no. 920 (illustrated in color, p. 407).

FRANCIS PICABIA (1879-1953)

Sans titre

signed 'Francis Picabia' (lower right) oil on board

29¬ x 23 in. (75.3 x 58.5 cm.)

Painted circa 1940-1942

$1,000,000-1,500,000

PROVENANCE:

Michael Werner Gallery, New York. Mary Boone Gallery, New York (acquired from the above, 1983).

David Salle, New York (acquired from the above, 1983).

Diego Cortez Arte, Ltd., New York (acquired from the above, November 1987).

Acquired from the above by the present owner, 1 December 1987.

EXHIBITED:

New York, Mary Boone Gallery, Francis Picabia, September-October 1983.

LITERATURE:

A. Umland and C. Hug, Francis Picabia: Our Heads are Round So our Thoughts Can Change Direction, exh. cat., The Museum of Modern Art, New York, 2016, p. 307 (illustrated in color, fig. 9; titled Portrait de Viviane Romance and dated 1939).

W.A. Camfield, B. Calté, C. Clements and A. Pierre, Francis Picabia: Catalogue raisonné, 1940-1953, Paris, 2022, vol. IV, p. 210, no. 1650 (illustrated in color).

PABLO PICASSO

(1881-1973)

Buste d'homme lauré

dated '11.5.69.' (on the reverse)

oil and Ripolin on canvas

45¬ x 35 in. (115.7 x 88.8 cm.)

Painted on 11 May 1969

$9,000,000-12,000,000

PROVENANCE:

Estate of the artist.

Bernard Ruiz-Picasso, Paris (by descent from the above, 1979, until at least 2004).

Heinz Berggruen, Paris.

Private collection, Europe (acquired from the above); sale, Sotheby's, Hong Kong, 30 September 2018, lot 1031.

Acquired at the above sale by the present owner.

EXHIBITED:

Avignon, Palais des Papes, Pablo Picasso: 19691970, May-September 1970, no. 32 (illustrated).

New York, Pace Gallery, Picasso: The Avignon Paintings, January-March 1981 (illustrated).

Kunstmuseum Basel, Pablo Picasso, Das Spätwerk, Themen 1964-1972, SeptemberNovember 1981, pp. 124 and 162, no. 38 (illustrated in color, p. 125).

Mairie de Gisors, Picasso, April-May 1983. Vienna, Kunstforum and Kunsthalle Tübingen, Picasso: Figur und Porträt, Hauptwerke aus der Sammlung Bernard Picasso, September 2000June 2002, pp. 192 and 194, no. 88 (illustrated in color, p. 200).

Musée des Beaux Arts de Nantes and Padua, Palazzo Zabarella, Picasso, la peinture seule: 1961-1972, October 2001-January 2003, p. 80, no. 30 (illustrated in color, p. 81; no. 31 in Padua).

Copenhagen, Arken Museum of Modern Art, Picasso: For All Times, January-June 2004, pp. 90 and 117, no. 35 (illustrated in color, p. 90).

Malaga, Museo Picasso, Picasso: Anthology, 1895-1971, October 2004-February 2005, p. 168, no. 124 (illustrated in color).

Istanbul, Sakip Sabanci Museum, Picasso in Istanbul, November 2005-March 2006, pp. 44 and 304, no. 128 (illustrated in color, pp. 44 and 305).

St. Moritz, Galerie Andrea Caratsch, Pablo Picasso: Late Work, August 2007-October 2007. New York, Gagosian Gallery, Picasso & the Camera, October 2014-January 2015, p. 353 (illustrated in color).

LITERATURE:

R. Alberti, A Year of Picasso Paintings: 1969, New York, 1971, p. 221, no. 180 (illustrated in color).

C. Zervos, Pablo Picasso, Paris, 1976, vol. 31, no. 194 (illustrated, pl. 63).

PABLO PICASSO (1881-1973)

Nu couché

signed, dated and inscribed 'Picasso Samedi 12.7.69.' (upper left) oil stick and colored wax crayons on paper 19æ x 25√ in. (50.2 x 65.5 cm.) Drawn on 12 July 1969

$700,000-1,000,000

PROVENANCE:

Galerie Louise Leiris (Daniel-Henry Kahnweiler), Paris.

Galleria Levi, Milan (by 1973).

Anon. sale, Sotheby's, New York, 10 May 1995, lot 447.

Anon. sale, Sotheby's, London, 4 December 1996, lot 243.

Michelle Rosenfeld Gallery, New York. Galerie Maurice, Inc., Boston. Acquired from the above by the present owner, 7 December 1997.

EXHIBITED:

Milan, Galleria Levi, Picasso: olii, gouaches, pastelli, chine, disegni, dal 1921 al 1971, March-April 1973, no. 43 (illustrated in color).

LITERATURE:

C. Zervos, Pablo Picasso, Paris, 1976, vol. 31, no. 313 (illustrated, pl. 92).

RICHARD PRINCE (B.

1949)

Untitled (Cowboy)

signed, numbered and dated 'Prince 1999 1/1' (on a paper label affixed to the reverse)

Ektacolor print

60 x 80 in. (152.4 x 203.2 cm.)

Executed in 1999. This work is the artist's proof from an edition of two plus one artist's proof.

$1,500,000-2,000,000

PROVENANCE:

Barbara Gladstone Gallery, New York

Diego Cortez Arte Ltd., New York

Acquired from the above by the present owner, 2000

EXHIBITED:

Carrboro, Partobject Gallery, Richard Prince: Princeville-1999 N.C. Flood Disaster Benefit, August-September 2000.

RICHARD PRINCE (B.

1949)

Nurse Kathy

signed, titled and dated 'Richard Prince 2004 NURSE KATHY' (on the overlap)

inkjet and acrylic on canvas

77 x 46 in. (195.6 x 116.8 cm.)

Executed in 2004.

$4,000,000-6,000,000

PROVENANCE:

Barbara Gladstone Gallery, New York

Tim Nye, New York

Acquired from the above by the present owner

LITERATURE:

R. Prince, 136 Nurses, New York, 2017, n.p. (illustrated).

ROBERT RAUSCHENBERG (1925-2008)

Lincoln

oil, printed paper collage, fabric, stamped metal and ink on found canvas 17 x 21 in. (43.2 x 53.2 cm.) Executed in 1958.

$2,000,000-3,000,000

PROVENANCE:

Leo Castelli Gallery, New York

Edwin E. Hokin, Chicago,1958

Art Institute of Chicago, gift from the above,1965 Acquired from the above by the present owner, 2015

EXHIBITED:

New York, Stable Gallery, Some Younger Artists, December 1959-January 1960, p. 55 (illustrated). Washington D.C., Smithsonian National Collection of Fine Arts; New York, Museum of Modern Art; San Francisco Museum of Modern Art; Buffalo, Albright-Knox Gallery and Art Institute of Chicago, Robert Rauschenberg, October 1976-January 1978, pp. 94 and 214, no. 54 (illustrated).

New York, Metropolitan Museum of Art; Museum of Contemporary Art Los Angeles; Paris, Centre Pompidou; Stockholm, Moderna Museet, Robert Rauschenberg: Combines, December 2005- April 2007, pp. 88 and 295, pl. 73 (illustrated).

Art Institute of Chicago, December 1993-June 1994, June 1997-June 1999, March 2009-May 2011.

LITERATURE:

Robert Rauschenberg, exh. cat., Berlin, Kunsthalle Dusseldorf, 1980, p. 283 (illustrated).

Robert Rauschenberg: A Retrospective, exh. cat., New York, Solomon R. Guggenheim Museum, 1997, p. 124, no. 93 (illustrated).

M. L. Kotz, Rauschenberg: Art and Life, New York, 2004, p. 170 (illustrated).

Robert Rauschenberg, exh. cat. Rome, Edizione Mucciaccia, 2008, p. 115 (illustrated).

Selections from the Private Collection of Robert Rauschenberg, exh. cat, New York: Gagosian Gallery, 2012, p. 40 (illustrated).

WITNESS: Art and Civil Rights in the Sixties, exh. cat., Brooklyn Museum, 2014, p. 91, fig. 83 (illustrated).

GERHARD RICHTER (B.

1932)

Badende

signed and dated 'Richter 67' (on the reverse) oil on canvas

63 x 78Ω in. (160 x 200 cm.) Painted in 1967.

$15,000,000-20,000,000

PROVENANCE:

Galerie Heiner Friedrich, Munich

Galerie Sabine Knust, Munich Private collection, Kleinwallstat

Galerie Fred Jahn, Munich

David Nolan Gallery, New York

Acquired from the above by the present owner, 1987

EXHIBITED:

Munich, Galerie Heiner Friedrich, Gerhard Richter: New Paintings, May-June 1967.

Stuttgart, Württembergischer Kunstverein, Figurations, July-September 1967, p. 56, no. 127.

Antwerp, Wide White Space, Gerhard Richter, October-November 1967.

Kunsthalle Recklinghausen, Akt '68: Sculptures, Pictures and Graphics from German Artists, October-November 1968, n.p., no. 114.

Brussels, Musées royaux des Beaux-Arts de Belgique, Europalia '77: 12 since '45, OctoberNovember 1977.

Brussels, Palais des Beaux-Arts, Wide White Space 1966-1976, October-December 1994, p. 154 (illustrated).

LITERATURE:

"Gerhard Richter," Art International, March 1968, p. 55 (illustrated).

Gerhard Richter, exh. cat., Aachen, Gegenverkehr, Zentrum für aktuelle Kunst, 1969, n.p., no. 75 (illustrated).

36th Biennale in Venice, German Pavillion, exh. cat., Venice Biennale, 1972, pp. 39 and 55 (illustrated). Magazin Kunst, no. 1, 1974, pp. 66-67.

Gerhard Richter: Paintings 1962-1985, exh. cat., Städtische Kunsthalle Düsseldorf, 1986, pp. 3335, 59-60, 64, 367 (illustrated).

A. Thill, et. al., Gerhard Richter Catalogue Raisonné, vol. III, Ostfildern-Ruit, 1993, p. 314, no. 154 (illustrated).

K. Kruger, "The Block Inside the Picture," Pantheon, vol. LIII, 1995, pp. 157-158 (illustrated).

D. Elger, Gerhard Richter, Maler, Cologne, 2002, pp. 138, 140, 441 (studio view illustrated).

L' Œil, Oct. 2002, p. 1 (illustrated).

"The Artnews 200 Top Collectors: Gerald and Sandra Fineberg," Artnews, 2003, p. 114 (illustrated).

M. Francis and H. Foster, eds., Pop, London, 2005, p. 34.

Gerhard Richter, exh. cat., Düsseldorf, K20 Kunstsammlung Nordrhein-Westfalen, 2005, p. 38 (illustrated).

Gerhard Richter Without Color, exh. cat., Burgdorf, Museum Franz Gertsch, 2005, pp. 34-35, no. 13 (illustrated).

E. Kiffl, Inside the Studio, Cologne, 2008, p. 28 (studio view illustrated).

Gerhard Richter Panorama, exh. cat., StrombeekBever, Cultuurcentrum Strombeek Grimbergen, 2008, pp. 7, 84 (illustrated).

B. Buchloh, Gerhard Richter (The October Files), Boston, 2009, p. 121.

D. Elger, Gerhard Richter: A Life in Painting, Chicago, 2009, pp. 114-115, 365 (illustrated).

J. Gelshorn, Aneignung und Wiederholung. Bilddiskurse im Werk von Gerhard Richter und Sigmar Polke, Munich, 2012, p. 80.

H. Foster, "Gerhard Richter, or the Photogenic Image," The First Pop Age, Princeton/Oxford, 2012, p. 191.

S. Knust and B. van Renswou, "Galerie Heiner Friedrich. München, Köln, New York, 1963-1980," sediment, no. 21/22, 2013, p. 42.

D. Elger, Gerhard Richter: Catalogue Raisonné, 1976-1987, Ostfildern, 2013, vol. 3, p. 314, no. 154 (illustrated).

Konigsklasse III, exh. cat., Herrenchiemsee, Neues Schloss, 2015, pp. 29-31 (illustrated).

Gerhard Richter 'Brigid Polk', exh. cat., Pinakothek der Moderne in Schloss Herrenchiemsee, 2015, pp. 29-30, 36, 40 (illustrated).

A. Zwetie, Gerhard Richter Life and Work, Munich, 2019, p. 42.

Baselitz – Richter – Polke – Kiefer, exh. cat., Staatsgalerie Stuttgart, 2019, pp. 151-154.

A. Zweite, Gerhard Richter. Leben und Werk. Das Denken ist beim Malen das Malen, Munich, 2019, pp. 42-43, 119, 160, 170, 173.

A historic icon within Gerhard Richter’s practice, Badende (Bathers) is a rare work from the artist’s landmark early series of female nudes. Combining extraordinary technical bravura with a powerful commentary on the nature of image consumption, it occupies pivotal territory in his seminal body of photo-paintings. Conjuring the ‘bathers’ of Ingres, Cézanne and others, Badende is the most ambitious and virtuosic in a sequence of paintings made in 1967. The series, created in the wake of major 1966 nudes such as Ema (Akt auf einer Treppe) (Museum Ludwig, Cologne) and Zwei Liebespaare (Daros Collection, Zurich), combined references to art history and mass-produced erotic imagery, chiming with the contemporary currents of Pop Art. Where Richter had previously worked from single sources, here he weaves a dazzling composite vision from multiple photographic images, pushing his figures to the brink of abstraction. In a unique instance of self-quotation, he would later depict the painting in his 1971 portraits of the American artist Brigid Polk (Pinakothek der Moderne, Munich and Tate, London). Widely exhibited as Richter rose onto the international stage, Badende became a defining canvas of the period, taking its place as a centerpiece of the Gerald Fineberg Collection in 1987.

Richter’s 1967 series of nude and semi-nude women formed a vital strand of his early practice: examples have graced institutions including the Kunstmuseum Bonn, the Neues Museum, Nuremberg, the San Francisco Museum of Modern Art, the Olbricht Collection and the Yageo Foundation, Taipei. Comparable in scale to just two other works in the cycle, Badende is distinguished by its subtle tinted palette, indicating Richter’s gradual move away from black and white in his photo-paintings. The rich complexity of its composition, moreover, stands alone within the series. The artist had been fascinated by the historic motif of the bathers since his student days at the Dresden Academy, and particularly admired Ingres’ The Turkish Bath (1862). Shrouded in ambiguity, Richter’s nudes shift in and out of focus, their limbs dissolving into abstract patterns. Their features, blurred to the point of anonymity, place them eternally beyond the viewer’s grasp. In the indeterminate depths of the painting, where reality gives way to illusion, Richter enacts the dynamics of desire, deferral, seduction and misdirection that define our interactions with all imagery.

Richter began painting from photographs in 1962, but had long been fascinated by the medium. Having grown up during the Second World War, he was keenly aware of the camera’s power to tap into the human psyche. Photography’s claims to truth, he understood, were complex: its apparent objectivity endowed it with a hidden capacity for deception, often provoking irrational but deeply emotional responses from the viewer. Painting, too, had not escaped the war unscathed. For the Romantics, it had

Jean Auguste Dominique Ingres, The Turkish Bath, 1862. Musée du Louvre, Paris.

Photo: © Erich Lessing / Art Resource, NY.

Paul Cézanne, The Large Bathers, 1906. Philadelphia Museum of Art. Photo: The Philadelphia Museum of Art / Art Resource, New York.

offered a window to the world: by the 1960s, such promises seemed futile. By meticulously replicating the appearance of photography in pigment—its glitches, blurs and imperfections—Richter revealed the duplicities of both media. His sources, often banal images drawn from everyday life, took on a sense of mystery and wonder when translated into painterly photorealism. The lofty ideals of the past, simultaneously, disintegrated when disguised in the trappings of photography. Richter’s painstakinglyrendered surfaces drew the viewer in, but ultimately dissolved upon closer inspection. “I like the indefinite, the boundless,” he explained; “I like continual uncertainty” (G. Richter, “Notes, 1966,” in H-U. Obrist (ed.), Gerhard Richter: The Daily Practice of Painting, London, 1995, p. 58).

In their choice of subject matter, Richter’s 1967 nudes spoke powerfully to the cultural zeitgeist. Women had long featured as key subjects in his paintings, typically based on images depicting professional or domestic settings, or on family photographs. In Badende and its companions, however, Richter turned his attention to the rise of nudity and eroticism in contemporary image circulation. As the sexual revolution swept the Western world during the 1960s, it was a concern very much of its time. Pop Art’s fascination with image consumption had led artists such as Roy Lichtenstein, Tom Wesselmann, Gerald Laing and Richard Hamilton to interrogate this new brand of liberated iconography. Richter’s friend and comrade Sigmar Polke, meanwhile, would confront similar themes in his Freundinnen and Bunnies of the mid-1960s. Elsewhere, artists such as Marina Abramović and Yayoi Kusama were beginning to use their own naked forms in new and empowered ways, freeing the representation of the female body from the male gaze. In Richter’s Badende—like Olympia, Diana and other allusively-titled works from the series— the nudes of art history are similarly subverted. No longer passive muses, his bathers transcend their pastoral ancestors, courting the viewer’s gaze only to deflect and confound it.

This quality is enhanced by the work’s fictional composite structure. Though Richter had experimented with fusing figures from separate photographs in other works from the series, his creative license reached new heights in Badende. The weaving together of multiple sources, notably, was a strategy that Ingres had also employed in The Turkish Bath In Richter’s composition, some women are fully formed, echoing photographs documented his compendium Atlas. Others are mere shadows, dissolving into the darkness like fading light. Richter explained that “The nudes are a departure from the pure copying

Roy Lichtenstein, Girl with Ball, 1961. Museum of Modern Art, New York.

© Estate of Roy Lichtenstein. Photo: © The Museum of Modern Art/ Licensed by SCALA / Art Resource, NY.

Sigmar Polke, Bunnies, 1966.

© 2023 The Estate of Sigmar Polke, Cologne / ARS, New York/ VG Bild-Kunst, Bonn.

of a general photograph because the images are artificially composed,” noting that “one is drawn to them” as a result (G. Richter, “Statement, December 1967,” Art International, March 1968, p. 55). Dietmar Elger notes that “This statement marks a decisive complication in the artist’s preoccupation with the authenticity of photographic representation,” explaining that works such as Badende insist “upon a distance between the female object and the observer” (D. Elger, Gerhard Richter: A Life in Painting, Cologne, 2009, p. 114). Each woman is a figment; the whole is but an illusion. Through the hazy friction of the work’s surface, Richter diffuses the image’s voyeuristic charge, slyly neutralizing the eroticism of his subject matter in the process.

Richter’s 1967 nudes helped to cement his reputation at a critical moment in his early career. Badende and several of its companions were unveiled in his major solo exhibition at Galerie Heiner Friedrich, Munich in May: a showing of thirty works, more than half of which now reside in museums. Richter’s nudes were displayed alongside his seminal 4 Glasscheiben (4 Panes of Glass), prompting critics to liken the spectacle to Marcel Duchamp’s The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). The comparison was a pertinent one for Richter, who had invoked the latter’s Nude Descending a Staircase in Ema (Akt auf einer Treppe), and whose entire practice flirted with Duchampian notions of the “readymade” image. The exhibition and its reception formed part of a broader wave of success for Richter during 1967, which saw his receipt of the Art Prize of the Young West—his first award—and a steady stream of exhibitions. Badende, indeed, remained on public view for almost the entire remainder of the year, featuring in the group show Figuration at the Württembergischer Kunstverein, Stuttgart that summer, as well as Richter’s solo exhibition at the pioneering Wide White Space, Antwerp, in the fall.

The work’s personal significance for Richter, moreover, is demonstrated by his singular decision to reference it in a later suite of canvases. In 1971, he made six photo-paintings depicting Brigid Polk: a close friend of Andy Warhol and a key member of his studio, whom Richter had met the previous year. Badende is visible in the background of three of them, with Polk seated naked before it, as well as in the corresponding source photos. The works were displayed together at Galerie Heiner Friedrich in 1972, just five years after Badende had made its own debut there. Born Brigid Berlin before adopting the nickname by which she became known, Polk was celebrated for her use of the camera. She also

“The photograph has an abstraction of its own.”

GERHARD RICHTER

Gerhard Richter, Brigid Polk, 1972. Städtische Galerie im Lenbachhaus und Kunstbau München, Munich. © Gerhard Richter 2023 (0089).

Gerhard Richter, Ema, 1992. Art Gallery of New South Wales, Sydney. © Gerhard Richter 2023 (0092).

harnessed her own body as a medium, notably using her own paint-covered breasts to create what she described as “tit prints”—often as part of public performances. Her liberated approach to the female body, as well as her close associations with Pop Art and photography, resonated with Richter’s own concerns. His deliberate pairing of her naked form with Badende, indeed, suggests a close synergy between the two.

Perhaps more than anything, this later treatment of the painting spoke deeply to Richter’s ideas about art’s illusory power. In his portraits of Polk, Badende is reborn as a painting within a painting: a figment in and of itself. Already by 1967, Richter’s practice was becoming increasingly conceptual, with works such as his Türen (Doors) and Umgeschlagene Blätter (Turned Sheets) offering ever-more explicit visions of imagery’s capacity for artifice. By the time Richter returned to the bathers as a subject in 1994—a small single figure entitled Kl. Badende—he had journeyed far and wide in pursuit of this enquiry, having spent almost three decades oscillating

back and forth between photo-painting and free abstraction. Truth and fiction, he came to realize, were two sides of the same coin. A pristine simulacrum of the world was as much a fantasy as a full-scale distortion of it; reality, in turn, was a set of messy abstractions, perpetually held in flux. In Badende, the seeds of this revelation are sown. In the entanglement of past and present, painting and photography, Richter gives form to the enigmatic, liminal state that underpins the very nature of image-making.

“Richter insists upon a distance between the female object and the observer … inviting the viewer to look and simultaneously frustrating the gaze through technique.”

DIETMAR ELGER

Gerhard Richter in his studio, Düsseldorf, 1967 (present lot illustrated).

© Gerhard Richter 2023 (31032023), courtesy Gerhard Richter Archive Dresden.

JAMES ROSENQUIST (1933-2017)

Fast Pain Relief

signed and dated 'James Rosenquist 1962' (on the reverse) oil on canvas with lightbulbs and sockets

36 x 48 in. (91.4 x 121.9 cm.)

Executed in 1962-1963.

$1,500,000-2,000,000

PROVENANCE:

John Kloss, New York, acquired directly from the artist Green Gallery, New York

Mr. and Mrs. Bagley Wright, Seattle, 1964

Richard Bellamy, New York

Mr. and Mrs. Oscar Kolin, New York, 1970

PaceWildenstein, New York

Private collection, Los Angeles, 1996

Private collection, New York

Diego Cortez Arte Ltd., New York

Acquired from the above by the present owner, 1998

EXHIBITED:

Portland Museum of Art, Collection of Mr. and Mrs. C Bagley Wright: Twentieth Century American and European Paintings and Sculpture, NovemberDecember 1964, n.p., no. 48 (illustrated).

Washington Gallery of Modern Art, Twentieth Century Painting from the Collections in the State of Washington, September-October 1966.

East Hampton, Guild Hall Museum, American Masters: Works of Art from East Hampton Collections and the Guild Hall Museum Collection, May-June 1987.

LITERATURE:

G. Young, "America's Revolt from Abstraction," The Observer Weekend Review, 13 January 1963.

James Rosenquist: Gemälde-Räume-Graphik, exh. cat., Cologne, WallrafRichartz-Museums, 1972, p. 124.

James Rosenquist, exh. cat., New York, Whitney Museum of American Art, 1972, p. 47 (illustrated).

James Rosenquist, exh. cat., New York, Whitney Museum of American Art, 1985, p. 113 (illustrated).

J. Goldman, James Rosenquist: The Early Pictures, 1961-1964, New York, 1992, p. 93 (illustrated).

Marilyn Monroe.

Photo: Frank Povolny / Twentieth Century Fox / Sunset Boulevard / Corbis via Getty Images.

THOMAS STRUTH (B.

1954)

Tokyo National Museum

signed, titled, inscribed and numbered 'National Museum of Art Tokyo 1999 9/10 Thomas Struth Print: 2000' chromogenic print face-mounted to Diasec, in artist's frame 72 x 110 in. (183 x 279.4 cm.)

Executed in 1999 and printed in 2000. This work is number nine from an edition of ten.

$300,000-500,000

PROVENANCE:

Marian Goodman Gallery, New York

Private collection

Anon sale; Sotheby's, London, 21 June 2007, lot 34 Private collection, New York Acquired from the above by the present owner, 2012

EXHIBITED:

Hannover, Sprengel Museum, Die Orte der Kunst, May-September 1994 (another example exhibited).

Kyoto, The National Museum of Art; Tokyo, The National Museum of Art, My Portrait, October 2000-February 2001 (another example exhibited). Dallas Museum of Art; Los Angeles, Museum of Contemporary Art; New York, Metropolitan Museum of Art; Chicago, Museum of Contemporary Art, Thomas Struth: 1977-2002, May 2002-September 2003, p. 179, pl. 40-41 (another example exhibited and illustrated).

Seoul, Gallery Hyundai, Andreas Gursky & Thomas Struth, February 2005, n.p., no. 6 (another example exhibited and illustrated).

Chicago, Museum of Contemporary Art, Universal Experience: Art, Life and the Tourist's Eye,

February-June 2005, pp. 68 and 268 (another example exhibited and illustrated). Madrid, Museo del Prado, Thomas Struth: Making Time, February-May 2007, pp. 47, 50 and 108 (another example exhibited and illustrated). New York, Metropolitan Museum of Art, Between here and There: Passages in Contemporary Photography, July 2010-February 2011 (another example exhibited). Kunsthaus Zürich; Dusseldorf, Kunstsammlung NRW; London, Whitechapel Gallery; Porto, Museu Serralves, Thomas Struth, Photographs 19782010, 2010-2012, pp. 130-131 (another example exhibited and illustrated).

LITERATURE:

H. Belting, ed. Thomas Struth: Museum Photographs, Munich, 1998, pp. 82-83 and 107 (illustrated).

Schirmer/Mosel, Thomas Struth: Texte zum Werk von Thomas Struth, Munich, 2009, pp. 43 and 206 (illustrated).

H. von Uwe Fleckner, Bilder Machen Geschichte: Historische Ereignisse Im Gedachtins der Kunst, Berlin, 2014, p. 255, no. 99 (illustrated).

ALINA SZAPOCZNIKOW

(1926 - 1973)

Portret Wielokrotny (Dwukrotny)

[Multiple Portrait (Double)]

granite and colored polyester resin

30 x 18æ x 14 in. (76.2 x 47.6 x 35.5 cm.) Executed in 1967.

$150,000-200,000

PROVENANCE:

Estate of Alina Szapocznikow, Paris

1602 Broadway, New York

Acquired from the above by the present owner, 2010

EXHIBITED:

Paris, Jardins du Palais Royal, XIX Salon de la Jeune Sculpture, 1967.

Warsaw, Museum of Modern Art, Awkward Objects, May-July 2009.

Los Angeles, Hammer Museum; Columbus, Wexner Center for the Arts; New York, Museum of Modern Art, Alina Szapocznikow: Sculpture Undone, 1955-1972, October 2011-January 2013, n.p., no. 106 (illustrated).

LITERATURE:

Alina Szapocznikow: Human Landscapes, exh. cat., Menschliche Landschaften, pp. 23, 68, 75 and 203, no. 21 (studio image illustrated).

TOM WESSELMANN

(1931-2004)

Bedroom Painting #37

titled and dated 'BEDROOM PAINTING #37 1977' (on the stretcher) oil on canvas

70 x 68 in. (177.8 x 172.7 cm) Painted in 1977.

$1,500,000-2,000,000

PROVENANCE:

Sidney Janis Gallery, New York

Howard Weingrow, New York

Private collection, Palm Desert, 1981 Christie's Inc., New York, 2011 Acquired from the above by the present owner, 2014

EXHIBITED:

Roslyn, Nassau County Museum of Art, Feminine Image, March-May 1997.

LITERATURE:

S. Stealingworth, Tom Wesselmann, New York, 1980, p. 211 (illustrated).

J. Wilmerding, Tom Wesselmann: His Voice and Vision, New York, 2008, p. 49 (illustrated).

Please note that this work will be included in the Tom Wesselmann Digital Corpus published by the Wildenstein Plattner Institute, and will be included in their forthcoming Tom Wesselmann Digital Catalogue Raisonné

JOHN WESLEY (1928-2022)

Popeye

signed, titled and dated ''POPEYE' John Wesley 1973' (on the reverse) acrylic on canvas 48 x 61¬ in. (122 x 156.5 cm.) Painted in 1973.

$300,000-500,000

PROVENANCE:

Daniel Weinberg Gallery, Santa Monica Private collection, New York

Acquired from the above by the present owner

EXHIBITED:

Santa Monica, Daniel Weinberg Gallery, John Wesley: A Survey of Paintings 1962-1992, OctoberNovember 1992.

Cambridge, Harvard University Art Museum, John Wesley Love's Lust, January-February 2001.

LITERATURE:

D. Pagel, “Charm, Trauma Mix in John Wesley Works,” Los Angeles Times, 22 October 1992., p. B9 (illustrated).

John Wesley: Paintings 1961-2000, exh. cat., P.S.1 Contemporary Art Center, New York, 2000, p. 19 (illustrated).

John Wesley, exh. cat., Fondazione Prada, Venice, 2009, pp. 171, 342, 430, 511, 539 and 541, no. 276 (illustrated).

CARLA ACCARDI

(1924-2014)

Integrazione

signed and dated 'ACCARDI 58' (lower right); signed again, titled, inscribed and dated again 'bis 189-1958 -ACCARDI- "Integrazione" II'

(on the reverse)

casein on canvas

37º x 39ƒ in. (96 x 100 cm.)

Executed in 1958.

$80,000-120,000

PROVENANCE:

The artist Private collection

Acquired from the above by the present owner

LITERATURE:

G. Celant, Carla Accardi, Milan, 1999, pp. 57 and 267, no. 1958 7 (illustrated).

JOSEF ALBERS

(1888-1976)

Homage to the Square: Decided

incised with the artist's monogram and date 'A63' (lower right); signed again, titled and dated again 'Homage to the Square: "Decided" Albers 1963' (on the reverse)

oil on Masonite 40 x 40 in. (101.6 x 101.6 cm.) Painted in 1963.

$1,200,000-1,800,000

PROVENANCE:

The Josef and Anni Albers Foundation, Bethany, Connecticut

Waddington Galleries, London

PaceWildenstein, New York, 2002

Private collection, New York, 2003

Pace Gallery, New York, 2015

Private collection, New York, 2016 Acquired from the above by the present owner

EXHIBITED:

Paris, Galerie Denise René, Albers, March-April 1968, no. 11.

Westfälisches Landesmuseum für Kunst und Kulturgeschichte Münster; Kunsthalle Basel; Lübeck, Overbeck Gesellschaft; Karlsruhe, Badischer Kunstverein; Bonn, Landesmuseum; Munich, Villa Stuck and Berlin, Kunstverein Berlin, Albers, 1968-1969, no. 21. Bottrop, Cyriakusschule Bottrop, Albers in Bottrop, 1969, no. 13.

Düsseldorf, Städtische Kunsthalle Düsseldorf, Josef Albers, September-October 1970, no. 62. New York, Metropolitan Museum of Art, Josef Albers at the Metropolitan Museum of Art, November 1971-January 1972, n.p. no. 55.

Valencia, IVAM Centre Julio González, Josef Albers: Vidrio, Color y Luz, 1994-1995.

London, Waddington Gallery, Josef Albers: Homages to the Square and Structural Constellations, April-May, 1996.

Kunstmuseum Bern, Josef und Anni Albers: Europa und Amerika, November 1998-January 1999, no. 113.

New York, Pace Wildenstein, Josef Albers: Homage to Color, May-June 2003, pp. 31 and 33 (illustrated).

New York, Pace Gallery, On the Square Part II, October 2015.

This work will be included in the forthcoming catalogue raisonné being prepared by the Josef and Anni Albers Foundation.

PETER ALEXANDER

(1939-2020)

Untitled

signed with the artist's initials and dated 'P.A. 68' (lower left edge)

cast polyester resin

90 x 3æ x 3æ in. (228.6 x 9.5 x 9.5 cm.)

Executed in 1968.

$30,000-50,000

PROVENANCE:

Tim Nye, New York

Private collection, New York

Acquired from the above by the present owner, 2013

CARL ANDRE

(B. 1935)

16 pieces of slate

slate, in sixteen parts

each: 3/4 x 12 x 12 in. (0.7 x 30.5 x 30.5 cm.)

overall: 3/4 x 48 x 48 in. (0.7 x 122 x 122 cm.) Executed in 1967.

$400,000-600,000

PROVENANCE:

Private collection, acquired directly from the artist Dwan Gallery, Los Angeles

Locksley Shea Gallery, Minneapolis Roger and Myra Davidson, Toronto Private collection

Phillips de Pury & Company; New York,

10 November, 2005, lot 53 Private collection, San Francisco Private collection

Mnuchin Gallery, New York

Acquired from the above by the present owner, 2015

EXHIBITED:

Los Angeles, Dwan Gallery, Carl Andre: Cuts, March-April 1967.

Minneapolis, Locksley Shea Gallery, Carl Andre, 1969.

The Hague: Haags Gemeentemuseum, Carl Andre, January-March 1987, n.p. no. 1967.22.

New York, Grant Selwyn Fine Art, Sculpture, October-December 2001.

New York, Mitchell-Innes and Nash, Sculpture, April-July 2002.

New York, Paula Cooper Gallery, Carl Andre, February-April 2004.

New York, Pace Gallery, Grounded, JanuaryFebruary 2014.

LITERATURE:

Carl Andre: Sculptor 1996, exh. cat., Krefeld Kunstmuseen and Kunstmuseum Wolfsburg, 1996, p. 242 (illustrated).

A. Rider, Carl Andre, Things In Their Elements, New York, 2011, p. 182 (illustrated).

This work will be included in the forthcoming Carl Andre Catalogue Raisonné of Sculptures edited by Dr. Eva Meyer-Hermann.

CARL ANDRE (B.

1935)

35 Cold Deck

cold-rolled steel sheet, in thirty-five parts each: 3¬ x 36¬ in. (9.2 x 93 cm.) overall: 128 x 36¬ in. (325 x 93 cm.) Executed in 1974.

$500,000-700,000

PROVENANCE: Paula Cooper Gallery, New York Acquired from the above by the present owner, 1989

EXHIBITED: New York, John Weber Gallery, Carl Andre, 1974. This work will be included in the forthcoming Carl Andre Catalogue Raisonné of Sculptures edited by Dr. Eva Meyer-Hermann.

RICHARD ARTSCHWAGER

(1923-2013)

Anitra's Dance

acrylic on Celotex and Formica, in artist's painted frame

61 x 108Ω in. (154.9 x 275.6 cm.)

Executed in 1994.

$120,000-180,000

PROVENANCE:

Mary Boone Gallery, New York

Private collection, France, 1994

Acquired from the above by the present owner, 2017

EVELYNE AXELL

(B. 1935-1972)

L'Amazone signed 'Axell' (lower right) enamel on Plexiglas, in artist's frame 37Ω x 17¿ in. (95.3 x 43.5 cm.) Executed

$80,000-120,000

PROVENANCE: Estate of Evelyne Axell Acquired from the above by the present owner, 2011

EXHIBITED:

Paris, Galerie Daniel Templon, Axell, Pierre et les Opalines, 1969.

Brussels, Palais des Beaux-Arts, Evelyne Axell, May-June 1978, p. 8. Brussels, Musée d’Ixelles, Un frisson de la vie, Evelyne Axell et les années ‘60, OctoberDecember 1997.

Paris, Centre Wallonie-Bruxelles, Evelyne Axell, 1935-1972. L'amazone du Pop Art, March-May 2000.

Namur, Musée provincial Félicien-Rops, Axell. Le Pop Art jusqu'au Paradis, NovemberOctober 2004.

LITERATURE:

C. Lorent, L'Amazone du Pop Art 1935-1972, Paris, 2000, p. 72.

B. Bonnier, V. Carpiaux and J. Antoine, Evelyne Axell, from Pop Art to Paradise, Paris, 2004, pp. 34, 57, 110, no. 106 (illustrated).

in 1969.

EVELYNE AXELL

(B. 1935-1972)

Paysage signed 'Axell' (upper right); signed again, titled and dated 'Paysage AXELL 70' (on the stretcher); signed again and dated again 'Axell 70' (on the reverse) enamel on Plexiglas mounted on fiberboard, in artist's frame

64Ω x 51 in. (163.8 x 129.5 cm.) Executed in 1970.

$150,000-200,000

PROVENANCE:

Estate of Evelyne Axell Acquired from the above by the present owner, 2010

EXHIBITED:

Brussels, Palais des Beaux-Arts, Axell, 1971. Brussels, Palais des Beaux-Arts, Evelyne Axell, May-June 1978, p. 2.

Brussels, Musée d'Ixelles, Un frisson de la vie, Evelyne Axell et les années ‘60, OctoberDecember 1997.

Ostende, PMMK, Evelyne Axell en de jaren zestig, August-September 1999.

Paris, Centre Wallonie-Bruxelles, Evelyne Axell, 1935-1972. L'amazone du Pop Art, March-May 2000.

LITERATURE:

C. Lorent, L'Amazone du Pop Art 1935-1972, Paris, 2000, p. 81.

B. Bonnier, V. Carpiaux and J. Antoine, Evelyne Axell, from Pop Art to Paradise, Paris, 2004, pp. 130-131, no. 162 (incorrectly dated 1971).

MATTHEW BARNEY

(B. 1967)

Grand Master

cast and engraved sterling silver, Merino sheepskin, polyorganza, poly-lame, and acetate ribbon in high density polyethylene and acrylic vitrine

40 x 24Ω x 28Ω in. (101.6 x 62.2 x 72.4 cm.)

Executed in 2002. This work is number two from an edition of two plus one artist's proof.

$80,000-120,000

PROVENANCE:

Gladstone Gallery, New York

Acquired from the above by the present owner, 2003

LITERATURE:

Matthew Barney: The CREMASTER Cycle, exh. cat. Cologne, Museum Ludwig; Musee d'Art Moderne de la Ville de Paris; New York, Soloman R. Guggenheim Museum, 2003, p. 511.

JEAN-MICHEL BASQUIAT

(1960-1988)

Untitled (First Collage Experiment, Modena Italy)

acrylic and wax crayon on paper, in three parts overall: 17º x 13 in. (43.8 x 33 cm.)

Executed in 1981. This work is accompanied by a certificate of authenticity issued by the Authentication Committee for the Estate of Jean-Michel Basquiat.

$200,000-300,000

PROVENANCE: The artist Diego Cortez Arte Ltd., New York Acquired from the above by the present owner, 2006

JEAN-MICHEL BASQUIAT

(1960-1988)

Untitled (Man with Crown)

oilstick on paper 17 x 14 in. (43.2 x 35.5 cm.)

Executed in 1982.

$800,000-1,200,000

PROVENANCE:

Brett DePalma, Brooklyn Diego Cortez Arte Ltd., New York

Acquired from the above by the present owner, 2005

MARY BAUERMEISTER (1934-2023)

Eye-Level signed and dated 'Mary Bauermeister 1965' (on the reverse)

wood box construction-wood, canvas, Plexiglass, glass, optical lenses, stones and ink 18Ω x 18Ω x 4¡ in. (45 x 45 x 11.1 cm.)

Executed in 1965.

$30,000-50,000

PROVENANCE:

Galería Bonino, New York

Hedda Hendrix Edelbaum, New York

Marika Herskovic, New Jersey

Eric Firestone Gallery, New York

Acquired from the above by the present owner

EXHIBITED:

Ridgefield, The Larry Aldrich Museum, Highlights of the 1964-65 Art Season, July-September 1965. Koblenz, Mittelrhein Museum, Mary Bauermeister, Gemälde und Objekte, 1952-1972, May-July 1972, p. 7.

LITERATURE:

Bauermeister paintings and constructions, exh. cat., New York, Galería Bonino, 1967, n.p. (illustrated).

Mary Bauermeister, Gemälde und Objekte, exh. cat., Koblenz, Mittelrhein Museum, 1972, p. 21, fig. 51 (illustrated).

WILLIAM BAZIOTES (1912-1963)

Egyptian signed 'Baziotes' (lower right); signed again, titled and dated 'EGYPTIAN 1960-61 W Baziotes' (on the reverse) oil on canvas

48 x 60 in. (121.9 x 152.4 cm.) Painted in 1960-1961.

$200,000-300,000

PROVENANCE:

Sidney Janis Gallery, New York Jeannette Johnson Dempsey, Cleveland Bourne P. Dempsey, Cleveland, 2005, by descent from the above Louise P. Dempsey, Cleveland, by descent from the above

Her sale; Sotheby's, New York, 18 November, 2016, lot 147

Private collection, New York, 2016 Acquired from the above by the present owner

EXHIBITED:

Cleveland Museum of Art, Contemporary Art in Cleveland Collections - Part II, August-September 1962, n.p. Columbus, Ohio State University Art Museum, Ohio Collects: Art of the Twentieth Century from Ohio Collections, May-June 1963, no. 5.

This work will be included in the forthcoming catalogue raisonné being prepared by Michael Preble.

HANS BELLMER (1902-1975)

Sans

titre (Auto-œil)

signed and dated 'Bellmer 1963' (lower left) gouache, black Conté crayon and pencil on paper laid down on card

25º x 19¿ in. (65.4 x 49.8 cm.)

Executed in 1963

$50,000-70,000

PROVENANCE:

Daniel Cordier, Paris (acquired from the artist, circa 1960).

Miguel Abreu Gallery, New York (by 2006). Acquired from the above by the present owner, 24 May 2007.

EXHIBITED:

Amsterdam, Stedelijk Museum, Hans Bellmer: Tekeningen, May-June 1970, no. 41.

Paris, Musée national d'art moderne, Centre Georges Pompidou; Munich, Staatliche Graphische Sammlung and London, Whitechapel Gallery, Hans Bellmer: Anatomie du désir, March-November 2006, pp. 212 and 271, no. 204 (illustrated in color, p. 213; with incorrect dimensions).

New York, Miguel Abreu Gallery, Form as Memory February-March 2007.

HANS BELLMER (1902-1975)

Sans titre (Filles)

signed 'Bellmer' (lower right) and dated '58' (lower left) pencil with white heightening on paper laid down on card

12Ω x 17æ in. (31.8 x 45 cm.)

Executed in 1958

$60,000-80,000

PROVENANCE:

Daniel Cordier, Paris (acquired from the artist, circa 1960).

Miguel Abreu Gallery, New York (by 2006). Acquired from the above by the present owner, 24 May 2007.

EXHIBITED:

Amsterdam, Stedelijk Museum, Hans Bellmer: Tekeningen, May-June 1970, no. 16. New York, Miguel Abreu Gallery, Hans Bellmer: Drawings, Photographs and Engravings, 2006.

LITERATURE:

Donations Daniel Cordier: Le regard d'un amateur, Paris, 1989, p. 51 (illustrated in color).

C. Jelenski, The Drawings of Hans Bellmer, New York, 1973, p. 79 (illustrated). Obliques, 1975, p. 180 (detail illustrated).

HANS BELLMER

(1902-1975)

Sans titre (Femmes cordes)

signed 'Bellmer' (lower right) and dated '1959.' (lower left) pencil with white heightening on paper laid down on card

19 x 12Ω in. (48.4 x 31.9 cm.) Executed in 1959

$30,000-50,000

PROVENANCE:

Daniel Cordier, Paris (acquired from the artist, circa 1960).

Miguel Abreu Gallery, New York (by 2006). Acquired from the above by the present owner, 24 May 2007.

EXHIBITED:

Hannover, Kestnergesellschaft, Hans Bellmer, April-June 1967, p. 38, no. 112 (with incorrect dimensions).

Amsterdam, Stedelijk Museum, Hans Bellmer: Tekeningen, May-June 1970, no. 41 (illustrated). Paris, Centre national d'art contemporain, Hans Bellmer: Rétrospective, November 1971-January 1972, no. 122.

Paris, Musée national d'art moderne, Centre Georges Pompidou; Munich, Staatliche Graphische Sammlung and London, Whitechapel

Gallery, Hans Bellmer: Anatomie du désir, March-November 2006, pp. 204 and 271, no. 182 (illustrated in color, p. 270; titled Untitled (Bound Women); with incorrect dimensions).

New York, Miguel Abreu Gallery, Form as Memory, February-March 2007.

LITERATURE:

C. Jelenski, The Drawings of Hans Bellmer, New York, 1973, p. 78 (illustrated in color).

B. Keseljevic, "L'œuvre de Hans Bellmer" in Obliques, 1975, p. 41 (illustrated).

S. Taylor, Hans Bellmer: The Anatomy of Anxiety, New York, 2000, p. 189 (illustrated, fig. 9.14; with incorrect medium).

HANS BELLMER

(1902-1975)

Sans titre (Unica Zürn)

signed 'Bellmer' (lower left) and dated '1956.' (lower right) pencil on paper laid down on card 17√ x 21¿ in. (45.5 x 54.2 cm.) Drawn in 1956

$60,000-80,000

PROVENANCE:

Private collection, Basel (by 1970). Daniel Cordier, Paris.

Miguel Abreu Gallery, New York (by 2006). Acquired from the above by the present owner, 24 May 2007

EXHIBITED:

Amsterdam, Stedelijk Museum, Hans Bellmer: Tekeningen, May-June 1970, no. 13 (illustrated). Chicago, Museum of Contemporary Art, Hans Bellmer, May-June 1975.

New York, Miguel Abreu Gallery, Drawing Out of the Void: Hans Bellmer, Pavel Tchelitchew, Steve DiBenedetto and Pieter Schoolwerth, March-May 2004, no. 5.

Paris, Musée national d'art moderne, Centre Georges Pompidou; Munich, Staatliche Graphische Sammlung and London, Whitechapel Gallery, Hans Bellmer: Anatomie du désir, March-November 2006, pp. 191 and 269, no. 171 (illustrated in color, p. 191; with incorrect cataloguing).

LITERATURE:

C. Jelenski, The Drawings of Hans Bellmer, New York, 1973, p. 81 (illustrated in color). "Intercepts" in Lacanian Ink, nos. 24/25, winter-spring 2005, p. 162 (illustrated).

LYNDA BENGLIS

(B. 1941)

Peter

aluminum wire mesh, aluminum foil and enamel 63Ω x 32 x 14 in. (161.3 x 81.3 x 35.6 cm)

Executed in 1974.

$200,000-300,000

PROVENANCE:

Paula Cooper Gallery, New York

A.J. Aronow, New York

Anon. sale; Sotheby's, New York, 23 February 1993, lot 377

Greenville County Museum of Art, South Carolina

Cheim & Read Gallery, New York

Acquired from the above by the present owner

EXHIBITED:

New York, Paula Cooper Gallery, Lynda Benglis Presents Metallized Knots, May 1974.

Atlanta, High Museum of Art; New Orleans Museum of Art; San Jose Museum of Art, Lynda Benglis: Dual Natures, January-December 1991, p. 77, cat. no. 14 (illustrated).

LITERATURE:

M. Vetrocq, ”Knots, Glitter and Funk,” Art in America, vol. no. 12, December 1991, p. 95 (illustrated).

C.H. Gautherot, K. Seung-Duk Kim, Lynda Benglis (IMMA), Dijon, 2009, p. 291 (installation view illustrated).

S. Richmond, Lynda Benglis Beyond Process, New York, 2013, pp. 102-103, pl. 16 (illustrated).

BILLY AL BENGSTON

(1934-2022)

Earp signed and dated 'Bengston 1961' (on the reverse) oil and sprayed lacquer on Masonite 12 x 12 in. (30.5 x 30.5 cm.)

Executed in 1961.

$20,000-30,000

PROVENANCE:

Sonja Benjanínsson de Zorrilla, New York Her sale; Christie's, New York, 12 January 2005, lot 43

Private collection, New York

Acquired from the above by the present owner, 2012

BILLY AL BENGSTON

(1934-2022)

Alfalfa

oil, polymer and sprayed lacquer on Masonite, in artist's frame

46æ x 31¬ in. (118.7 x 80.3 cm.)

Executed in 1964.

$150,000-200,000

PROVENANCE: The artist

Sterling Holloway, Laguna Beach

Asher Faure Gallery, Los Angeles

Kayne Griffin Corcoran, Los Angeles

Acquired from the above by the present owner, 2016

EXHIBITED:

Los Angeles County Museum of Art; Washington, Corcoran Gallery, Dupont Center; Vancouver Art Gallry, Billy Al Bengston, November 1968-January 1969, n.p., no. 29 (illustrated).

LITERATURE:

Billy Al Bengston: Paintings of Three Decades, exh. cat., Houston, Contemporary Arts Museum; The Oakland Museum, 1988, p. 47 (illustrated).

WALLACE BERMAN

(1926-1976)

Untitled

$30,000-50,000

PROVENANCE:

Beatrice Cooper, Los Angeles Private collection, Los Angeles

Marc Selwyn Fine Art, Los Angeles galerie frank elbaz, Paris

Acquired from the above by the present owner

signed 'W Berman' (upper right) acrylic and Verifax collage on board 12 x 12æ in. (30.5 x 32.8 cm.)

Executed in 1970.

LOUISE BOURGEOIS (1911-2010)

Untitled

stamped with the artist's initials, numbered and dated 'LB 3/6 06' (on the lowest element) painted bronze and stainless steel 57 x 12 x 12 in. (144.8 x 30.5 x 30.5 cm.) Conceived in 1954 and cast in 2006. This work is number three from an edition of six plus one artist's proof.

$1,200,000-1,800,000

PROVENANCE:

Acquired directly from the artist by the present owner, 2009

EXHIBITED:

New York, Sperone Westwater Gallery, Louise Bourgeois: Works from the 50’s, April-May 1989 (plaster version exhibited).

Kansas City, Nelson-Atkins Museum of Art, Louise Bourgeois, July-September 1994 (plaster version exhibited).

New York, Blumarts, Louise Bourgeois and Yayoi Kusama, June-September 2001 (plaster version exhibited).

Städtische Museen Jena, Louise Bourgeois: Sculpture, Drawings and Prints, SeptemberNovember 2010, p. 47 (illustrated; another example exhibited).

Seoul, Kukje Gallery, Louise Bourgeois: Personages, May-June 2012, pp. 70-71, 75 and 94, no. 70 (illustrated; another example exhibited). Beijing, Faurschou Foundation; Copenhagen, Faurschou Foundation, Louise Bourgeois: Alone and Together, October 2012-March 2014, pp. 41, 129 and 130 (illustrated; another example exhibited).

Basel, Fondation Beyeler, Sammlungshangung Bourgeois, October 2013-January 2014 (plaster version exhibited).

Mexico City, Museo del Palacio de Bellas Artes, Louise Bourgeois: Petite Maman, November 2013-March 2014, fig. 7 (illustrated; another example exhibited).

Basel, Fondation Beyeler, Moon Bird and Spider, October 2018-January 2019 (plaster version exhibited).

Schirn Kunsthalle Frankfurt; Humlebæk, Louisiana Museum of Modern Art, Fantastic Women. Surreal Worlds from Meret Oppenheim to Frida Kahlo, February-September 2020 (another example exhibited).

LITERATURE:

R. Storr, Intimate Geometries: The Art and Life of Louise Bourgeois, New York, 2016, p. 240 (plaster version illustrated).

T. Vischer, ed., Fondation Beyeler: The Collection, Switzerland, 2017, p. 149 (another example illustrated).

I. Brugger, Ansichten Heft 18: Louise Bourgeois, Switzerland, 2020, p. 7 (another example illustrated).

SCOTT BURTON (1939-1989)

Perforated Metal Settee and Chairs, circa 1988-89

aluminum 33Ω x 60¿ x 34Ω in. (85.1 x 152.7 x 87.7 cm) (settee)

33Ω x 24Ω x 34Ω in. (85.1 x 62.2 x 87.7 cm) (each chair) number three from an edition of five (settee) number four from an edition of five (chairs) (3)

$100,000-150,000

PROVENANCE:

Max Protetch Gallery, New York Acquired from the above by the present owner, 2008

LITERATURE:

A.M. Torres, Scott Burton, exh. cat., Institut Valencià d'Art Modern, Valencia, 2004, pp. 232-233

JOHN CHAMBERLAIN

(1927-2011)

HEPHOOP painted and chromium-plated steel 12Ω x 14 x 11 in. (31.8 x 35.6 x 30.5 cm.)

Executed in 2007.

$100,000-150,000

PROVENANCE:

Anthony Meier Fine Arts, San Francisco Private collection, California Acquired from the above by the present owner, 2008

EXHIBITED:

New York, Edward Tyler Nahem, Summer

Selections: Group Show, June-August 2008.

JOHN CHAMBERLAIN

(1927-2011)

Running Cathead

painted and chromium-plated steel

93 x 33Ω x 23æ in. (236.2 x 85 x 60.3 cm.)

Executed in 1988

$500,000-700,000

PROVENANCE:

Margo Leavin Gallery, Los Angeles

Private collection, United States

Anon. Sale; Christie's, New York. 7 November 1989, lot 93

Private collection, Europe

Acquired from the above by the present owner, 2008

EXHIBITED:

Los Angeles, Margo Leavin Gallery, John Chamberlain, 1989

WILLIE COLE

(B. 1955)

House and Field

House—cowrie shells and wood on plaster Field—nails, feathers, steel and raffia on plaster

House: 26 x 18 x 10 in. (66 x 45.7 x 25.4 cm.)

Field: 28.3/4 x 19 x 10 in (73 x 48.3 x 25.4 cm.)

Executed in 1997.

$10,000-15,000

PROVENANCE: Alexander and Bonin, New York Private collection, New York Acquired from the above by the present owner New York, Alexander and Bonin, Willie Cole: New Sculpture, September-November 1997.

JOSEPH CORNELL (1903-1972)

Untitled (Zizi Jeanmaire Lobster Ballet)

signed with the artist's initials 'J.C.' (on the reverse)

wood box construction—wood, glass, plastic lobsters, acrylic mesh, cardboard, printed paper collage, foil and glitter 8æ x 15 x 3æ in. (22.2 x 38.1 x 9.5 cm.) Executed circa 1949.

$300,000-500,000

PROVENANCE:

Rhett and Robert Delford Brown, New York, acquired directly from the artist, 1968 Beth Urdang Gallery, Boston Acquired from the above by the present owner, 2000

EXHIBITED:

Salem, Peabody Essex Museumt, Joseph Cornell; Navigating the Imagination, April-August 2007, pp. 280 and 370, no. 109 (illustrated) Lyon, Museé des Beaux-Arts de Lyon; Charlottesville, Fralin Museum of Art, Joseph Cornell and the Surrealists in New York, October 2013-February 2014, p. 56, no. 31 (illustrated).

LITERATURE:

D. Waldman, Joseph Cornell; Master of Dreams, New York, 2002, pp. 63-64 and 152 (illustrated).

JOSEPH CORNELL (1903-1972)

Untitled (Soap box)

singed 'Joseph Cornell' (on a label affixed to the reverse) wood box construction–wood, glass, port glass, sand, metal, nails, stamps and printed paper collage

8º x 14 x 4¬ in. (21 x 35.5 x 11.7 cm.)

Executed in 1956-1958.

$70,000-100,000

PROVENANCE:

Daniel Varenne, Geneva

Private collection, United States, 1989

Dickinson, New York

Acquired from the above by the present owner

JOSEPH CORNELL

(1903-1972)

Lapis Lazuli (W.B. Yeats) to Francesca

signed, titled and inscribed 'to my Francesca "Lapis Lazuli" (W.B. Yeats) CORNELL. Joseph

Cornell.' (on the reverse) paper collage with coin on board 12 x 9 in. (30.5 x 22.9 cm.)

Executed in 1964.

$30,000-50,000

PROVENANCE:

Janus Gallery, Los Angeles

Private collection, United States

Anon. sale; Christie's, New York, 4 May 1989, lot 150

Acquired at the above sale by the present owner

JOSEPH CORNELL

(1903-1972)

Untitled (Medici Boy)

signed 'Joseph Cornell' (on

12 x 9 in. (30.5 x 22.9 cm.)

Executed circa 1962.

$100,000-150,000

PROVENANCE:

Estate of Joseph Cornell

Leo Castelli Gallery, New York

Private collection, New York

Jennifer Pinto Safian, New York

Private collection, United States, 1987

Dickinson, New York

Acquired from the above by the present owner

EXHIBITED:

New York, Leo Castelli Gallery, Joseph Cornell, Collages 1931-1972, May-June 1978, p 77, no. 70 (illustrated).

New York, Dickinson, Beauty Shared: A Collector's Vision, April-June 2019, pp. 38-39 (illustrated).

the reverse) photostat and paper collage on board with graphite, ink and stain, behind amber glass

LYNNE DREXLER (1928-1999)

Summer Blossom

signed, titled and dated 'LYNNE DREXLER

SUMMER BLOSSOM 1962' (on the reverse) oil on canvas

30 x 25 in. (76.2 x 63.5 cm.)

Painted in 1962.

$150,000-200,000

PROVENANCE:

Estate of Lynne Drexler

Private collection

Jody Klotz Fine Art, Abilene

Private collection, Italy

Acquired from the above by the present owner

EXHIBITED:

Abilene, Jody Klotz Fine Art, A Quest for Parity: Women in Art, February-May 2021, n.p. (illustrated).

Abilene, Jody Klotz Fine Art, Explosions of Color

| Dimensions of Sound: The Art of Lynne Mapp Drexler, June-August 2021 (illustrated on the front cover).

JEAN DUBUFFET (1901-1985)

Paysage avec trois peronnages

signed and dated 'J. Dubuffet 49' (upper right); signed again, titled and dated twice 'Paysage avec trois peronnages, 1949 J. Dubuffet 49-13' (on the reverse)

oil and sand on board

15º x 23º in. (38.7 x 59 cm.)

Painted in 1949.

$700,000-1,000,000

PROVENANCE:

John Craven, Paris

Galerie Craven, Paris

Galerie Maleki, Paris

Marlborough-Godard, Montreal

Private collection, New York

Jennifer Pinto Safian, New York

Private collection, United States, 2000

Dickinson, New York

Acquired from the above by the present owner

EXHIBITED:

Paris, Galerie John Craven, Braque, Dubuffet, Hartung, Kandinsky, Klee...”, February-March 1957 (illustrated).

Paris, Musée des Arts Décoratifs, Palais du Louvre

– Pavillon de Marsan, Rétrospective Jean Dubuffet: 1942 – 1960, December 1960–February 1961, p. 214, no. 55 (illustrated).

Centre d’art contemporain, Château de Tanlay, Jean Dubuffet, June-October 1988, no. 5. New York, Dickinson, Beauty Shared: A Collector's Vision, April-June 2019, p. 52-53 (illustrated).

LITERATURE:

M. Loreau, Catalogue des travaux de Jean Dubuffet, fascicule V: Paysages Grotesques, Paris, 1965, p. 39, no. 56 (illustrated).

JEAN DUBUFFET

(1901-1985)

Tasse de thé II (Guillerette)

signed and dated 'J. Dubuffet déc. 65' (lower right); signed again, titled and dated 'Tasse à thé II (guillerette) J. Dubuffet décembre 65' (on the reverse)

vinyl on canvas

51¿ x 31¿ in. (129.9 x 79 cm.)

Painted in 1965.

$700,000-1,000,000

PROVENANCE:

Galerie Beyeler, Basel Private collection, New York

R. Kaller-Kimche, Inc., New York

Morton and Barbara Mandel, United States, 1985

Their sale; Sotheby's, New York, 16 May 2018, lot 21

Private collection, New York

Acquired from the above by the present owner

EXHIBITED:

Basel, Kunsthalle, Jean Dubuffet: L'Hourloupe, June-August 1970, n.p., no. 38.

Madrid, Fundación Juan March, Jean Dubuffet, February-March 1976, p. 57, no. 44 (illustrated). New York, Weintraub Gallery, Jean Dubuffet: Paintings and Sculpture, April-May 1984.

LITERATURE:

M. Loreau, ed., Catalogue des Travaux de Jean Dubuffet: fascicule XXI, L'Hourloupe II, Paris, 1968, p. 120, no. 203, (illustrated).

MELVIN EDWARDS

(B. 1937)

Ile Ogun, Planetary, Road to Goma, Alterable [Four Works]

(i)

Ile Ogun signed, titled indistinctly and dated 'M. EDWARDS ILE OGUN 2003' (on the reverse)

steel

13 x 10 x 7Ω in. (33 x 25.4 x 19 cm.)

Executed in 2003.

(ii) Planetary signed, titled and dated 'M. EDWARDS PLANETARY 92' (on the reverse) steel

10Ω x 11 x 6Ω in. (26.6 x 27.9 x 16.5 cm.)

Executed in 1992.

(iii)

Road to Goma signed, titled and dated 'M. EDWARDS ROAD TO GOMA 93.94' (on the reverse) steel

10Ω x 12 x 9 in. (26.6 x 30.5 x 22.8 cm.)

Executed in 1993-1994.

(iv)

Alterable signed, titled and dated 'M. EDWARDS ALTERABLE 92' (on the reverse) steel

10 x 10Ω x 8 in. (25.4 x 26.6 x 20 cm.)

Executed in 1992.

$120,000-180,000

PROVENANCE:

Alexander Gray Associates, New York

Acquired from the above by the present owner

EXHIBITED:

New York, Alexander Gray Associates, Melvin Edwards, November-December 2012 (Planetary only).

New York, Alexander Gray Associates, Melvin Edwards, October-December 2014 (Ile Ogun only).

CLAIRE FALKENSTEIN

(1908-1997)

Untitled copper and glass

19 x 10 x 12Ω in. (48.3 x 25.4 x 31.7 cm.)

Executed circa 1970.

$50,000-70,000

PROVENANCE:

Private collection, Santa Barbara, acquired directly from the artist Michael Rosenfeld Gallery LLC, New York

Private collection, New York

Acquired from the above by the present owner

URS FISCHER (B. 1973)

Historical Solution

signed and dated 'Urs Fischer 2016' (on the reverse) aluminum panel, aluminum honeycomb, two-component epoxy adhesive, twocomponent epoxy primer, galvanized steel rivet nuts, acrylic primer, gesso, acrylic ink, acrylic silkscreen medium, acrylic paint and oil medium 96 x 72 in. (243.8 x 182.9 cm.)

Executed in 2016.

$600,000-800,000

PROVENANCE:

Gagosian Gallery, New York

Acquired from the above by the present owner, 2016

LITERATURE:

U. Fischer, Urs Fischer Paintings 1998-2017, London, 2019, n.p., no. 409 (illustrated).

LUCIO FONTANA

(1899-1968)

Concetto spaziale

signed and dated 'L Fontana 51' (lower right); signed and dated again 'L Fontana 51' (on the reverse)

blotting paper mounted on canvas

18¡ x 23¡ in. (46.7 x 59.4 cm.) Executed in 1951.

$300,000-500,000

PROVENANCE:

Private collection, Milan Raschella, Milan Grossetti Arte Contemporanea, Milan Galleria 1000eventi, Milan

Acquired from the above by the present owner, 2002

LITERATURE:

L.M. Barbero, Lucio Fontana: Catalogo ragionato delle opere su carta, vol. II, Milan 2013, no. 51 DSP 43, p. 570 (illustrated).

SAM FRANCIS (1923-1994)

Untitled

gouache on paper laid down on Masonite 30æ x 23 in. (78.2 x 58.4 cm.)

Executed in 1953.

$300,000-500,000

PROVENANCE:

Mr. and Mrs. Johnson Sweeney, New York, 1968 Private collection, by descent from the above Mitchell-Innes & Nash, New York

Private collection, New York, 2017

Acquired from the above by the present owner

EXHIBITED:

Houston, Museum of Fine Arts; Berkeley, University Art Museum, University of California, Sam Francis: A Retrospective Exhibition, October 1967-February 1968, p. 26, no. 43.

Kunsthalle Basel; Karlsruhe, Badischer Kunstverein; Amsterdam, Stedelijk Museum, Sam Francis, April 1968-November 1968, no. 77 (Basel); no. 45 (Karlsruhe); no. 60 (Amsterdam, illustrated).

LITERATURE:

P. Plagens, "A Sam Francis Retrospective in Houston: 'He has been, all along, five years ahead of his time," Artforum, vol. 6, no. 5, January 1968, p. 41 (illustrated).

P. Selz, Sam Francis, New York, 1975, p. 145, pl. 73 (illustrated).

P. Selz et. al., Sam Francis, New York, 1982, p. 157, pl. 79 (illustrated).

M. Waldberg, Sam Francis: Metaphysics of the Void, Toronto, 1987, p. 17 (illustrated).

J.F. Lyotard, Sam Francis: Lesson of Darkness. . . Like the Paintings of a Blind Man, Venice, 1993, n.p. (illustrated).

D. Burchett-Lere, ed., Sam Francis Online Catalogue Raisonné Project, digital, ongoing, no. SFF5.200 (illustrated).

ROBERT FRANK (1924–2019)

Political Rally, Chicago, 1956

gelatin silver print, printed 1970s signed in ink (margin) image: 13 7/8 x 9 1/2 in. (35.2 x 24.2 cm.) sheet: 16 x 12 in. (40.7 x 30.5 cm.)

$80,000-120,000

PROVENANCE:

Roth Horowitz Gallery, New York; acquired from the above by the present owner, 2004.

LITERATURE:

Robert Frank, Les Américains, Delpire, Paris, 1958, pl. 58, p. 121.

Robert Frank, The Americans, Grove Press, New York, 1959, pl. 58, n.p., and in all subsequent editions.

Beaumont Newhall, The History of Photography:

From 1839 to the Present Day, The Museum of Modern Art/George Eastman House, New York, 1964, p. 200.

John Szarkowski, Looking at Photographs, The Museum of Modern Art, New York, 1973, p. 177.

Sarah Greenough and Philip Brookman, Robert Frank: Moving Out, Scalo, New York, 1994, p. 177.

Sarah Greenough, Robert Frank, The Americans, Looking In, Steidl, Göttingen, 2009, pp. 281 and 476 and contact no. 58.

HELEN FRANKENTHALER

(1928-2011)

Cataract

$70,000-100,000

PROVENANCE:

André Emmerich Gallery, New York

Members’ Gallery, Albright-Knox Art Gallery, Buffalo,1967

Private collection, Seattle, 1967

Knoedler & Company, New York

Foster Goldstrom, New York

Private collection, California

Loretta Howard Gallery, New York

Private collection, New York

Acquired from the above by the present owner

signed 'Frankenthaler' (lower right) oil on paper

29 x 23 in. (73.6 x 58.4 cm.)

Painted in 1963.

ELLEN GALLAGHER (B.

1965)

Untitled signed and dated 'Ellen Gallagher 1993' (on the reverse) oil on wood with plaster and mixed media 60 x 38 in. (152.4 x 96.5 cm.)

Executed in 1993.

$250,000-350,000

PROVENANCE:

Private collection

Gagosian Gallery, New York

Acquired from the above by the present owner, 2007

ISA GENZKEN (B.

1948)

Empire Vampire

synthetic polymer paint and spray paint on metal, plastic, mirror foil, plastic woven basket, plastic food, dolls, toy animals, plastic figures, artificial leaves, shells, and pussy willow on wood pedestal

overall: 89Ω x 23¬ x 17æ in. (227.3 x 60 x 45.1 cm.) Executed in 2003.

$40,000-60,000

PROVENANCE:

neugerriemschneider, Berlin

Acquired from the above by the present owner, 2013

GILBERT & GEORGE

(B. 1943 & B. 1942)

Cheshire Street

signed, titled and dated 'CHESHIRE STREET

Gilbert AND George 1980' (lower right); signed again, numbered consecutively from one to fifteen and titled 'GILBERT & GEORGE CHESHIRE ST.' (on the reverse of each element)

gelatin silver print in artist's frame, in fifteen parts each: 23√ x 19√ in. (60.6 x 50.5 cm.)

overall: 71¬ x 99¡ in. (182 x 252.5 cm.)

Executed in 1980.

$80,000-120,000

PROVENANCE:

Anthony D'Offay Gallery, London Acquired from the above by the present owner, 1986

LITERATURE:

Gilbert & George: The Complete Pictures 19712005, vol. 1, London, 2007, pp. 361 and 646 (illustrated).

JOSEPH GLASCO

(1925-1996)

Marvello

signed and dated '53 GLASCO' (lower right) oil on canvas 84 x 50 in. (213.4 x 127 cm.) Painted in 1953.

$15,000-20,000

PROVENANCE:

Catherine Viviano Gallery, New York

Stanley J. Seeger Jr. Collection, North Yorkshire Wolfs Gallery, Cleveland, 2017

Eric Firestone Gallery, East Hampton, 2019

Acquired from the above by the present owner

EXHIBITED:

New York, Catherine Viviano Gallery, The People of Joseph Glasco, March-April 1953, no. 1.

New York, Whitney Museum of American Art, Contemporary American Painting, OctoberDecember 1953, no. 52 (illustrated).

New York, Whitney Museum of American Art; San Francisco Museum of Art; Los Angeles, University of California Art Galleries; Colorado Springs Fine Arts Center; City Art Museum of St. Louis, The New Decade: 35 American Painters and Sculptors, May 1955-May 1956, p. 30 (illustrated).

Princeton University Art Museum, The Stanley J. Seeger Jr. Collection, June 1961.

London, Waddington Custot, Joseph Glasco: The Fifteenth American, September-October 2015. East Hampton, Eric Firestone Gallery, Montauk Highway III: Postwar Abstraction in the Hamptons, August-September 2019.

LITERATURE:

M. Raeburn, Joseph Glasco: The Fifteenth American, Hanover and London, 2015, pp. 111-112, 114-115, 123, 128, 144, 168, np. 37 (illustrated).

NAN GOLDIN (B.

1953)

Self-Portrait in Kimono with Brian, NYC, 1983

Cibachrome print signed, titled, dated and numbered '17/25' in ink (flush mount, verso); credited, titled and dated on affixed gallery label (frame backing board) overall framed: 30 x 40 in. (76.2 x 101.6 cm.) This work is number seventeen from an edition of twenty-five.

$20,000-30,000

PROVENANCE:

Matthew Marks Gallery, New York; acquired from the above by the present owner.

LITERATURE:

Exhibition Catalogue, Nan Goldin: I'll be your Mirror, Whitney Museum of American Art & Scalo, New York, 1996, p. 192.

ARSHILE GORKY

(1904-1948)

Untitled (from the Fireplace in Virginia series)

graphite and crayon on paper 22 x 30 in. (55.8 x 76.2 cm.) Executed in 1946.

$600,000-800,000

PROVENANCE:

Estate of Arshile Gorky, 1948

Private collection, New York, 1975

Xavier Fourcade, Inc., New York, 1986

Marcia and Stanley Gumberg, Pittsburgh, 1987 Acquired from the above by the present owner

EXHIBITED:

New York, Museum of Modern Art; New Orleans, Newcomb College, Tulane University; Pittsburgh, Chatham College; Nashville, Watkins Institute; Joplin, Spiva Art Center; Northampton, Smith College Museum of Art; Huntington, Marshall College; Tokyo, Seibu Gallery, Seibu Department Store; LeMars, Westmar College; St. Louis, Washington University; Arts Club of Chicago; Bloomington, Indiana University; Aurora, Wells College; DeKalb, Northern Illinois University; New York, The Jewish Museum; Karlsruhe, Badischer Kunstverein; Hamburger Kunstverein; Berlin, Amerika Haus; Essen, Museum Folkwang; York, City Art Gallery; London, Institute of Contemporary Arts; Nottingham, Midland Group Gallery; Bristol, City Gallery of Art; Edinburgh, Scottish National Gallery of Modern Art; Brussels, Palais des Beaux Arts; Rotterdam, Museum

Boijmans Van Beuningen; Vienna, Museum des 20 Jahrhunderts; Lisbon, Sociedade Nacional de Bellas Artes; Oslo, Kunstnernes Hus; Kunsthalle Lund; Basel, Öffentliche Kunstmuseum; Galerija Grada Zagreb; Belgrade, Galerija Doma Omladine; Rome, Galleria Nazionale d’Arte Moderna; Buenos Aires, Centro de Artes Visuales del Instituto Torcuato di Tella; Caracas, Museo de Bellas Artes; Bogatà, Biblioteca Luis Angel Arango; Mexico City, Galeria Universitaria Aristos, Museo Universitario de Ciencias y Arte, Arshile

Gorky Drawings, September 1962-June 1968, n.p., no. 62.1045 (MoMA, titled Untitled Drawing Fireplace in Virginia Series)), no. 44 (Tokyo and Germany, illustrated and illustrated on the exhibition poster); n.p., no. 45 (United Kingdom; illustrated); p. 24, no. 44 (Vienna, illustrated); n.p., no. 44 (Oslo, illustrated); n.p., no. 44 (Lund, illustrated with the incorrect orientation); n.p., no. 47 (illustrated, Zagreb); n.p., no. 50 (Rome, illustrated); n.p., no. 59 (Bogota, illustrated), n.p., no. 49 (Mexico City, illustrated).

London, Arts Council of Great Rotterdam, Museum Boijmans van Beuningen, Arshile Gorky, Paintings and Drawings, May-June 1965, n.p., no. 139.

College Park, University of Maryland Art Department and Art Gallery, J. Millard Tawes Fine Arts Center, The Drawings of Arshile Gorky, March-April 1969, pp. 43 and 54, fig. 31 (illustrated as Untitled, Fireplace in Virginia). Saratoga Springs, Skidmore College, Hathorn Gallery, The Drawings of Arshile Gorky, 1969, p. 50, no. 42 (illustrated, titled Untitled Drawing (Virginia Fireplace) and titled Untitled Drawing, in checklist).

New York, M. Knoedler and Co., Inc., Gorky: Drawings, November-December 1969, pp. 50 and 61, no. 134 (illustrated, titled Drawing (Fireplace in Virginia series)).

Basel, Galerie Beyeler, America on Paper: Drawings, Pastels, Gouaches, Temperas, Collages, Oils, May-June 1974, no. 5 (titled untitled (fireplace in virginia series)).

New York, Solomon R. Guggenheim Museum, Arshile Gorky, 1904-1948: A Retrospective, April-July 1981, p. 229, no. 208 (illustrated, titled Fireplace in Virginia).

New York, Xavier Fourcade, Inc., Drawings:

Abakanowicz,Berlant, Chamberlain, de Kooning, De Maria, Gorky, Heizer, Henle, Hesse,Mitchell, Morley, Moss, Murphy, Rockburne, Smith, Westermann, January-February 1987.

Madrid, Sala de Exposiciones de la Fundación Caja de Pensiones; London, Whitechapel Art Gallery, Arshile Gorky, 1904-1948, OctoberDecember 1989, p. 149, no. 88 (illustrated, titled Fireplace in Virginia).

Washington, D.C., National Gallery of Art; Buffalo, Albright-Knox Art Gallery; and Modern Art Museum of Fort Worth, Arshile Gorky: The Breakthrough Years, November 1995-March 1996, p. 162, no. 37, p. 162 (illustrated, titled Fireplace in Virginia).

New York, Whitney Museum of American Art; and Houston, Menil Collection, Arshile Gorky: A Retrospective of Drawings, November 2003–February 2004, pp. 181 and 244, no. 101 (illustrated, titled Fireplace in Virginia).

Philadelphia Museum of Art, Arshile Gorky: A Retrospective, October 2009–January 2010, pp. 319 and 391, no. 158 (illustrated, titled Fireplace in Virginia).

LITERATURE:

H. Fujimatsu, "Expert of Line and Life," Bijutsu Techo 10, Tokyo, October 1963, p. 5 (illustrated).

H. Herrera, Arshile Gorky: His Life and Work, New York 2003, pp. 430 and 528-530, fig. 137 (illustrated).

Eileen Costello, ed., Arshile Gorky Catalogue Raisonné, New York, ongoing, digital, no. D1293 (illustrated).

This work is included in the Arshile Gorky Catalogue Raisonné as number D1293

JOHN GRAHAM (1881-1961)

Still Life with Fish

signed twice and dated twice 'Graham XXXI' (upper left)

oil on canvas

24√ x 30¿ in. (63.2 x 76.5 cm.)

Painted in 1941.

$30,000-50,000

PROVENANCE: Allan Stone Gallery, New York Private collection

Acquired from the above by the present owner

EXHIBITED:

New York, Parrish Art Museum, John Graham: Maverick Modernist, May-July 2017, pp. 92 and 175, no. 37 (illustrated).

MARK GROTJAHN

(B.

1968)

Untitled (Green Butterfly Over Black)

signed twice, titled and dated 'MARK GROTJAHN

M. Grotjahn GREEN BUTTERFLY 2003' (on the overlap)

oil on linen

26 x 23 in. (66 x 58 cm.)

Painted in 2003.

$800,000-1,200,000

PROVENANCE:

Anton Kern Gallery, New York

Private collection, New York, 2003

Gagosian Gallery, New York

Acquired from the above by the present owner, 2011

MARK GROTJAHN

(B. 1968)

Untitled (Black and Cream Butterfly)

signed, inscribed and dated 'Mark Grotjahn 2004

S. Campbell' (on the reverse) colored pencil on paper 24 x 19 in. (61 x 48.2 cm.)

Drawn in 2004.

$120,000-180,000

PROVENANCE: Private collection, New York Acquired from the above by the present owner, 2011

PHILIP GUSTON

(1913-1980)

Study for Sheriff

signed, inscribed, titled and dated 'Philip Guston '70 Study for "Sheriff" For Tonia and Kenneth Baker' (lower right) ink on paper

14º x 21Ω in. (36.2 x 54.6 cm.) Drawn in 1970.

$150,000-200,000

PROVENANCE:

Tonia and Kenneth Baker, acquired directly from the artist Bernard Toale Gallery, Boston Acquired from the above by the present owner, 2000

PHILIP GUSTON (1913-1980)

Cup signed 'Philip Guston' (lower left); signed again, titled and dated 'PHILIP GUSTON "CUP" 1960' (on the reverse) oil on paper mounted on canvas

31 x 29Ω in. (78.7 x 74.9 cm.) Painted in 1960.

$600,000-800,000

PROVENANCE:

Dwan Gallery, Los Angeles Private collection, New York Lance Goldsmith, New York Acquired from the above by the present owner, 2010

EXHIBITED:

New York, Sidney Janis Gallery, New Paintings by Philip Guston, February-March 1961. Dwan Gallery, Los Angeles, Philip Guston/Franz Kline, Franz Kline, April 1961, no. 4. Pasadena Art Museum, Director's Choice, December 1963-January 1964, n.p., no. 80.

LITERATURE:

R. M. Coats, "Experiments," The New Yorker, February 1961, p. 93.

P. Laster, "Philip Guston: A life Lived Through Art," Art & Object, July 2020.

Philip Guston Now, exh. cat., Washington, D.C., National Gallery of Art, 2020, p. 72, pl. 51 (illustrated)

R. Storr, Philip Guston: A Life Spent Painting, London, 2020, pp. 78 and 84, no. 71 (illustrated).

K. Wilkin, "Philip Guston finally," New Criterion, September 2022.

The Guston Foundation, The Philip Guston Catalogue Raisonné, digital, ongoing, no. P60.020 (illustrated).

WADE GUYTON (B.

1972)

Untitled

signed and dated 'Wade Guyton 2007' (on the overlap)

Epson ultrachrome inkjet on canvas 40 x 36 in. (102 x 91 cm.)

Executed in 2007.

$300,000-500,000

PROVENANCE:

Dwan Gallery, Los Angeles

Private collection, New York

Private collection, Belgium

Acquired from the above by the present owner, 2010

EXHIBITED:

Zurich, Galerie Francesca Pia, Wade Guyton, September-November 2007.

LITERATURE:

Wade Guyton MCMXCIX-MMXIX Zwei Dekaden Museum Ludwig, exh. cat., Cologne, Museum Ludwig, 2019 (illustrated).

AL HANSEN

(1927-1995)

Frigga Trigger; Beantown Swinger; Untitled (Happy Birthday Dick Tyler Bichy...) [Three Works]

(i)

Frigga Trigger signed, titled, inscribed and dated 'Frigga Trigger Al Hansen Newark N.Y. March 1976' (on the reverse) oil and Hershey's wrapper collage on panel, in artist's frame 8æ x 5º in. (22.2 x 13.3 cm.)

Executed in 1976.

(ii)

Beantown Swinger signed, titled and dated 'Beantown Swinger Al Hansen NYC 1965' (on the reverse) metallic paint and Hershey's wrapper collage on panel, in artist's frame 14 x 8 in. (35.5 x 20.3 cm.)

Executed in 1965.

(iii)

Untitled signed, inscribed and dated 'Happy Birthday Dick Tyler Bichy... Al Hansen NY City 1972' (on the reverse)

Hershey's wrapper collage on panel, in artist's frame

8Ω x 7 in. (21.6 x 17.8 cm.)

Executed in 1972. 3

$40,000-60,000

PROVENANCE:

(i)

Gracie Mansion Gallery, New York

Private collection, New York

Acquired from the above by the present owner, 2015

(ii)

Eleanor Rigelhaupt Gallery, Boston

Paul Zoubok Gallery, New York

Private collection, New York

Acquired from the above by the present owner, 2017

(iii)

Pavel Zoubok Gallery, New York

Private collection, New York

Acquired from the above by the present owner

EXHIBITED:

(i)

New York, Gracie Mansion Gallery, Al Hansen, September-November 1995, no. 9.

AL HANSEN (1927-1995)

Ooh Ooh Ooh

signed, titled and dated 'Al Hansen 65 Ooh Ooh

Ooh' (on the reverse)

Hershey's wrapper collage on panel, in artist's frame 25 x 18æ in. (63.5 x 47.6 cm.)

Executed in 1965.

$25,000-35,000

PROVENANCE: Pavel Zoubok Gallery, New York

Private collection, New York

Acquired from the above by the present owner

KEITH HARING (1958-1990)

Untitled

sumi ink on paper 72 x 96 in. (182.9 x 243.8 cm.)

Executed in 1981.

$1,200,000-1,800,000

PROVENANCE:

Estate of Keith Haring, New York

Gladstone Gallery, Brussels

Skarstedt Gallery, New York

Private collection, New York

Acquired from the above by the present owner, 2014

EXHIBITED:

Fondazione La Triennale di Milano, The Keith Haring Show, September 2005-January 2006, p. 331, no. 187 (illustrated).

Vienna, Kunsthalle Wien; Cincinnati, Contemporary Arts Center, Lois & Richard Rosenthal Center for Contemporary Art; Brooklyn Museum, Keith Haring: 1978-1982, May 2010-July 2012, pp. 182-183 (illustrated).

Paris, Musée National d'Art Moderne; Keith Haring: The Political Line, April-August 2013, pp. 200-201 and 310, no. 48 (illustrated). New York, Skarstedt Gallery, Winter Group Show, December 2013-January 2014.

San Francisco, de Young Museum; Munich, Kunsthalle der Hypo-Kulturstiftung; Kunsthall Rotterdam; Keith Haring: The Political Line, November 2014-February 2016, p. 194, no. 149 (illustrated).

KEITH HARING (1958-1990)

Untitled (Subway Drawing)

chalk on black paper 42º x 28 in. (107.3 x 71.1 cm.) Executed in 1984.

$150,000-200,000

PROVENANCE: John “CRASH” Matos, New York The Hobbs Gallery, Boston Acquired from the above by the present owner, 1994

Tseng Kwong Chi, Keith Haring Subway Drawing, New York, 1984

Photo: Tseng Kwong Chi © Muna Tseng Dance Projects Inc.

Artwork: © The Keith Haring Foundation.

GRACE HARTIGAN

(1922-2008)

On Orchard Street

$100,000-150,000

PROVENANCE: ACA Galleries, New York

Acquired from the above by the present owner, 2019

signed and dated 'Hartigan '57' (lower right) oil, paper and printed paper collage on paper 22 x 29 in. (55.9 x 73.7 cm.)

Executed in 1957.

HANS HOFMANN

(1880-1966)

Botanic Garden

$100,000-150,000

PROVENANCE:

Dave Passell, gift of the artist, 1948

His sale; James D. Julia, Inc., Fairfield, 5 February 2016, lot 1115

Hollis Taggart, New York

Private collection, New York

Acquired from the above by the present owner

LITERATURE:

S. Villiger, ed., Hans Hofmann: Catalogue Raisonné of Paintings, Volume II (1901-1951), Farnham, 2014, p. 421, no. P690 (not examined at time of publication, date listed as 1948).

signed and dated 'Hans Hofmann '42' (lower right) oil on board laid down on panel 22 x 30 in. (55.8 x 76.2 cm.) Painted in 1942.

JENNY HOLZER

(B. 1950)

Selection from Survival: The Beginning of War Will Be Secret

incised with the artist's signature and numbered 'JH977 3/10' (on the underside)

white marble

17 x 23 x 15æ in. (43.2 x 58.4 x 40 cm.)

Executed in 2006. This work is number three from an edition of ten.

$50,000-70,000

PROVENANCE: Cheim & Read, New York

Acquired from the above by the present owner, 2014

DONALD JUDD (1928-1994)

Untitled

copper and light green Plexiglas 6 x 27 x 24 in. (15.2 x 68.6 x 61 cm.)

Executed in 1969. Two works were made in this form, material and configuration.

$400,000-600,000

PROVENANCE:

Castelli Gallery, New York Rosehill Collection, London Private collection, Germany Private collection, Düsseldorf

Paula Cooper Gallery, New York, 2016 Acquired from the above by the present owner, 2016

EXHIBITED:

Providence, Museum of Art Rhode Island School of Design, Art for Your Collection, December, 1969. Toronto, Jared Sable Gallery, Donald Judd, October, 1973.

LITERATURE:

D. Del Baso, R. Smith, and B. Smith, Donald Judd: Catalogue Raisonné of Paintings, Objects and Wood Blocks 1960-1974, Ottawa, 1975, p. 189, no. 172 (illustrated).

DONALD JUDD (1928-1994)

Untitled stamped 'JUDD JO BERNSTEIN BROS. INC. 80-64' (on the reverse)

stainless steel

5 x 25Ω x 8Ω in. (12.7 x 64.8 x 21.6 cm.) Executed in 1980.

$400,000-600,000

PROVENANCE:

Private collection, New York, acquired directly from the artist Acquired from the above by the present owner, 2015

EXHIBITED:

New York, Andrea Rosen Gallery, Cellblock II, December 2012- February 2013, pp. 78-79, 82-83 and 92 (illustrated).

New York, Mnuchin Gallery, Donald Judd Stacks, September-December 2013, pp. 56-57 (illustrated).

LITERATURE: M. Stockebrand, ed., Donald Judd: The Multicolored Works, New Haven and London, 2014, p. 206, fig. 7 (illustrated).

ANISH KAPOOR

(B. 1954)

Untitled stainless steel and lacquer 60 x 60 x 27Ω in. (152 x 152 x 70 cm.)

Executed in 2007.

$400,000-600,000

PROVENANCE: Lisson Gallery, New York Acquired from the above by the present owner, 2007

EXHIBITED:

London, Lisson Gallery, Anish Kapoor, 2007.

LITERATURE:

Phaidon Press, Anish Kapoor, London, 2009, pp. 320-321 and 525 (illustrated).

ALEX KATZ (B. 1927)

Late September signed and dated 'Alex Katz 65' (upper right) oil on linen

48 x 60 in. (121.9 x 152.4 cm.) Painted in 1965.

$700,000-1,000,000

PROVENANCE: Robert Miller Gallery, New York Acquired from the above by the present owner

EXHIBITED: New York, Robert Miller Gallery, Alex Katz from the Early 60's, October 1987, n.p. (illustrated and incorrectly dated 1964).

ALEX KATZ

PROVENANCE: Private collection, New Jersey Diego Cortez Arte Ltd., New York Acquired from the above by the present owner, 1986

$80,000-120,000

(B. 1927)

Crolie signed and dated 'Alex Katz 82' (upper left) oil on board 24 x 18 in. (61 x 45.7 cm.) Painted in 1982.

ON KAWARA (1932-2014)

JAN. 19, 1982, from Today, 1966-2013

signed 'On Kawara' (on the reverse) acrylic on canvas, with handmade cardboard box with newspaper 10 x 13 in. (25.4 x 33 cm.)

Executed in 1982.

$250,000-350,000

PROVENANCE: Private collection

Private collection

Acquired from the above by the present owner, 2008

LITERATURE:

R. Levitt, "Modern Influences," Boston Magazine, March 2010 (illustrated).

MARTIN KIPPENBERGER

(1953-1997)

Disco Bomb

mirrored disco ball and wig

12Ω x 18 x 16 in. (31.8 x 45.7 x 40.6 cm.)

Executed in 1989. This work is number nine from an edition of nine unique variants, plus three artist's proofs, and is accompanied by a signed photo certificate.

$15,000-20,000

PROVENANCE:

Edition Julie Sylvester, New York

Acquired from the above by the present owner, 1989

EXHIBITED:

New York, Edition Julie Sylvester, Martin Kippenberger: Disco Bombs, 1989 (illustrated). Institute of Contemporary Art, University of Pennsylvania, Investigations 28: Martin Kippenberger, June-July 1989 (another from the edition exhibited and illustrated).

Anvers, Museum van Haedendaagse Kunst, Martin Kippenberger Multiples 1982-1997, JuneAugust 2003 (another from the edition exhibited and illustrated).

Los Angeles, Museum of Contemporary Art, Martin Kippenberger: The Problem Perspective, September 2008-January 2009 (another from the edition exhibited and illustrated on the cover).

LITERATURE:

M. Prinzhorn and K. Grässlin, Martin Kippenberger: Multiples 1982-1997, Berlin, 2003, p. 51, no. 22 (illustrated).

MARTIN KIPPENBERGER

(1953-1997)

O.T. signed and dated 'M. Kipp 69' (lower right); signed again 'Kippenberger' (on a panel affixed to the stretcher)

acrylic and graphite on canvas

23¬ x 19¬ in. (60 x 50 cm.)

Executed in 1969.

$60,000-80,000

PROVENANCE:

Collection Messel, Koln

Galerie Volker Diehl, Berlin Acquired from the above by the present owner, 2003

LITERATURE:

M. Kippenberger, Vom Eindruck zum Ausdruck. 1/4 Jahrhundert Kippenberger, Berlin, 1979, p. 21 (illustrated).

This work will be included in the forthcoming Catalogue Raisonné of the Paintings, being compiled by the Estate ofMartin Kippenberger.

YVES KLEIN

(1928-1962)

Untitled Blue Monochrome (IKB 150)

pigment and synthetic resin on paper mounted on board

8Ω x 7 in. (21.6 x 17.8 cm.)

Executed circa 1959.

$200,000-300,000

PROVENANCE:

Galerie Iris Clert, Paris

Galerie Burén, Stockholm, 1963

Carl Fredrik Reuterswärd, Stockholm, circa 1965

His sale; Sotheby's, New York, 13 November 2002, lot 293

Peter Blum Gallery, New York

Private collection

Private collection, New York

Acquired from the above by the present owner, 2010

LITERATURE:

P. Wember, Yves Klein, Cologne, 1969, p. 74, no. IKB 150.

YVES KLEIN

(1928-1962)

Untitled Fire Painting (F 139)

signed, dedicated and dated 'A Shinichi Segui avec toute l'amitié du Yves Klein Juillet 1961' (on the reverse) charred cardboard laid on board

16¡ x 7º in. (41.5 x 18.4 cm.)

Executed in 1961.

$150,000-200,000

PROVENANCE:

Shinichi Segui, Japan, gift of the artist, 1961

Peter Blum Gallery, New York

Diego Cortez Arte Ltd., New York

Acquired from the above by the present owner, 2002

EXHIBITED:

Tokyo Gallery, Retrospective Yves Klein, July 1962. Tokyo, Fuji Television Gallery, Yves Klein, 1979.

This work is registered in the Yves Klein Archive under the archive number F 139.

ELAINE DE KOONING

(1918 - 1989)

Sand Wall (Cave #54)

signed with the artist's initials 'E de K' (lower right) oil on canvas

77æ x 108Ω in. (197.4 x 276 cm.) Painted in 1985-1986.

$400,000-600,000

PROVENANCE:

Gruenebaum Gallery, New York Private collection

Spanierman Modern, East Hampton Private collection, New York Berry Campbell Gallery, New York Acquired from the above by the present owner

EXHIBITED:

New York, Gruenebaum Gallery, Elaine de Kooning: The Time of the Bison, May 1986, no.11 (illustrated).

East Hampton, Spanierman Modern, Long Island Abstraction: 1950s to the Present, NovemberDecember 2006.

LITERATURE:

B. Genocchio, "Sand, Sea and Abstraction," The New York Times, 26 November 2006, p. 14.

WILLEM DE KOONING (1904-1997)

Untitled signed 'de Kooning' (upper right) oil on paper laid down on board sheet: 21æ x 18æ in. (55.2 x 47.6 cm.)

overall: 23º x 19¡ in. (59 x 49.2 cm.)

Painted in 1958.

$800,000-1,200,000

PROVENANCE:

Sidney Janis Gallery, New York

Private collection

Manny Silverman Gallery, Los Angeles Private collection

Acquired from the above by the present owner, 2017

EXHIBITED:

New York, Sidney Janis Gallery, Willem de Kooning, May-June 1959.

Los Angeles, Manny Silverman Gallery, The Usual Suspects, September-October 1993.

Los Angeles, Manny Silverman Gallery, Willem de Kooning, Adolph Gottlieb, Robert Motherwell, February-April, 1999.

East Hampton, Eric Firestone Gallery, Montauk Highway II: Postwar Abstraction in the Hamptons, August-September, 2018.

LITERATURE:

Recent Paintings by Willem de Kooning, exh. cat., New York, Sidney Janis Gallery, 1962, n.p. (illustrated).

de Kooning: a Retrospective, exh. cat. New York, Museum of Modern Art, 2011, p. 318 (illustrated).

The Figure: Movement and Gesture; Paintings, Sculpture and Drawings, exh. cat., New York, Pace Gallery, April-July 2011, n.p. (illustrated).

J. Zilczer, A Way of Living: The Art of Willem de Kooning, London, 2014, p. 263 (illustrated).

LEE KRASNER (1908-1984)

Untitled

signed with the artist's initials and dated 'LK. '75' (lower left); inscribed and dated twice '1975 "XMAS 1975"' (on the stretcher)

oil and paper collage on canvas

40º x 30 in. (102.2 x 76.2 cm.)

Executed in 1975.

$500,000-700,000

PROVENANCE: Claire Thaw, New York, acquired directly from the artist Eugene V. Thaw, New York Van Doren Waxter Gallery, New York, 2018 Acquired from the above by the present owner, 2019

This work was unintentionally omitted from Lee Krasner: A Catalogue Raisonné and, upon review by Ellen Landau, has been determined to be an authentic work by Krasner.

YAYOI KUSAMA (B.

1929)

Accretions II

signed and dated 'Y. Kusama 67' (on the reverse) oil on canvas

17¬ x 21æ in. (44.8 x 55.2 cm.)

Painted in 1967.

$700,000-1,000,000

PROVENANCE:

Sakuradou Fine Art, Tokyo Jason Rulnick, New York

TenLetters Media, Inc, New York

Acquired from the above by the present owner, 2017

YAYOI

KUSAMA

(B. 1929)

$200,000-300,000

PROVENANCE: Diego Cortez Arte Ltd, New York Acquired from the above by the present owner, 2003

Shoes signed, titled in Japanese and dated 'Yayoi Kusama 1995' (on the reverse) acrylic on canvas

6 x 9 in. (15.2 x 22.8 cm.)

Painted in 1995.

YAYOI KUSAMA

(B. 1929)

The Grapes

signed, titled and dated 'Yayoi Kusama 1981 GRAPES' (on the underside); dated again '1981' (on the reverse) wood box construction-sewn, stuffed fabric, canvas, plastic, oil and spray paint 23Ω x 12Ω x 4º in. (59.7 x 31.8 x 10.8 cm.) Executed in 1981.

$150,000-200,000

PROVENANCE:

Andrew Kreps Gallery, New York

Acquired from the above by the present owner

SOL LEWITT

(1928-2007)

Look, Look, Look

signed and dated twice 'Sol Lewitt 1962' (on the reverse) oil, silver paint and graphite on canvases, mounted on panel 17º x 9º x 7 in. (43.8 x 23.5 x 17.8 cm.) Executed in 1962.

$100,000-150,000

PROVENANCE:

Private collection, New Jersey Diego Cortez Arte Ltd., New York

Acquired from the above by the present owner, 1986

GLENN LIGON (B.

signed, titled and dated ‘Glenn Ligon Figure #44 2010’ (on the overlap); signed again, titled again and dated again ‘Glenn Ligon Figure #44 2010’ (on the reverse)

acrylic, silkscreen and coal dust on canvas

60 x 48 in. (152.4 x 121.9 cm.)

Executed in 2010.

$300,000-500,000

PROVENANCE:

Luhring Augustine, New York

Private collection, New York

Acquired from the above by the present owner, 2012

1960)

Figure #44

MAN RAY (1890-1976)

Brosse à cheveux

signed and dated 'Man Ray 1936' (lower left) pen and India ink on paper

13æ x 9√ in. (34.9 x 24.9 cm.)

Drawn in 1936

$40,000-60,000

PROVENANCE:

Elsie Ray Siegler, New Jersey (sister of the artist). David and Naomi Savage, Princeton (by descent from the above, 1958).

Mark Kelman, New York (acquired from the above, 1996).

Beth Urdang Gallery, Boston (acquired from the above, 1999).

Acquired from the above by the present owner, 3 February 1999.

EXHIBITED:

New York, Valentine Gallery, Drawings by Man Ray, December 1936, no. 32.

Paris, Galerie Jeanne Bucher, Les dessins de Man Ray, November 1937.

The London Gallery, Sixty Drawings for 'Les mains libres', February 1939.

Los Angeles County Museum of Art, Man Ray, October-December 1966, p. 66, no. 224 (titled Untitled and dated 1936-1937; with incorrect dimensions).

New York, Andre Emmerich Gallery, Man Ray, November-December 1997.

LITERATURE:

P. Eluard and Man Ray, Les mains libres, Paris, 1937, p. 153 (illustrated).

MAN RAY (1890-1976)

Natural Painting

signed 'Man Ray' (lower left)

oil on board

7Ω x 9Ω in. (19.1 x 24 cm.)

Executed circa 1958-1965

$4,000-6,000

PROVENANCE:

Joseph H. Hirshhorn, New York and Washington, D.C. (acquired from the artist, 1969). Hirshhorn Museum and Sculpture Garden, Washington, D.C. (bequest from the above, 1981); sale, Sotheby's, New York, 16 February 1989, lot 166.

Acquired at the above sale by the present owner.

MAN RAY (1890-1976)

Puériculture II

signed, dated, titled and numbered 'PUERICULTURE II Man Ray 64 7/12' (on the lower rim)

painted bronze

Height: 10Ω in. (26.7 cm.)

Conceived in 1920 and cast in 1964

$15,000-25,000

PROVENANCE:

Zabriskie Gallery, New York. Private collection, Maryland. Beth Urdang Gallery, Boston (acquired from the above).

Acquired from the above by the present owner, 15 June 1994.

EXHIBITED:

New York, Zabriskie Gallery, Man Ray: The New York Years, 1913 to 1921, November 1988-January 1989.

LITERATURE:

J.-H. Martin, Man Ray: Objets de mon affection, Paris, 1983, p. 141, no. 24.

PIERO MANZONI (1933-1963)

Achrome

polyester soaked in cobalt chloride 25º x 19Ω in. (64.1 x 49.5 cm.)

Executed in 1960-1961.

$200,000-300,000

PROVENANCE:

Galleria Notizie, Turin

Alfred Otto Mueller, Cologne

Joshua L. Mack, New York

Private collection, Chicago

Sperone Westwater, New York

Private collection, New York

Acquired from the above by the present owner, 2010

EXHIBITED:

Columbus, Wexner Center for the Visual Arts at The Ohio State University, Art in Europe and America: The 1950s and 1960s, February-April 1990, p. 296, fig. 28 (illustrated).

Madrid, Fundación Caixa de Pensiones; Turin, Castello di Rivoli, Piero Manzoni, October 1991May 1992.

New York, Sperone Westwater, Some Kind of Fact Some Kind of Fiction, January-February 1994. Santa Monica, Patricia Faure Gallery, Fontana, Manzoni, Paolini, Garutti, Gastini, Summer 1995.

Gwacheon, National Museum of Contemporary

Art, Tradition and Innovation: Italian Contemporary Art Since 1945, December 1995-January 1996. Verona, Studio la Città, Mostra n. 197. Intimamente, July-October 1998, n.p., (illustrated). New York, Sperone Westwater, AGAINST

NATURE: Alberto Burri, Lucio Fontana, Piero Manzoni, September-October 2000.

New York, Sperone Westwater, ZERO in New York, November-December 2008, p. 252 (illustrated).

LITERATURE:

G. Celant, Piero Manzoni, Catalogo generale, Milan, 1975, p. 225, no. 6 cc (illustrated).

F. Battino and L. Palazzoli, eds., Piero Manzoni, Catalogue Raisonné, Milan, 1991, p. 416, no. 869 (illustrated).

Breakthroughs: Avant–Garde Artists in Europe and America, 1950–1990, exh. cat., New York, 1991, pp. 28 and 296 (illustrated).

G. Celant, Piero Manzoni, Catalogo generale, Milan, 2004, vol. I, p. 255, no. 840 (illustrated).

G. Celant, Piero Manzoni, Catalogo generale, Milan, 2004, vol. II, p. 517, no. 840.

ROBERT MAPPLETHORPE

(1946–1989)

Thomas and Dovanna, 1986

signed and dated ‘1987’ in ink (frame backing) platinum print on linen, in artist's frame

image/sheet: 23 5/8 x 19 5/8 in. (60 x 49.8 cm.)

$200,000-300,000

PROVENANCE: Lunn Ltd, Brooklyn; Acquired from the above by the present owner, 1990.

LITERATURE:

Robert Mapplethorpe and Patti Smith, Robert Mapplethorpe, Bellport Press, New York, 1987, n.p. (variant illustrated).

Robert Mapplethorpe, Robert Mapplethorpe and the Classical Tradition: Photographs and Mannerist Prints, Guggenheim Museum Publications, New York, 2004, n.p.

CONRAD MARCA-RELLI

(1913-2000)

Y-M-33-58

signed 'Marca-Relli' (lower left); signed again and titled 'Maca-Relli Y-M-33-58' (on the reverse); signed again and titled 'Marca-Relli Y-M-33-58' (on the stretcher) oil and canvas collage on canvas 38¡ x 48 in. (98.5 x 121.9 cm.) Executed in 1958.

$120,000-180,000

PROVENANCE:

Marika Herskovic, New Jersey, acquired directly from the artist Eric Firestone Gallery, New York

Acquired from the above by the present owner, 2018

EXHIBITED:

New York, Eirc Firestone Gallery, Montauk Highway II: Postwar Abstraction in the Hamptons, August-September 2018.

This work is registered with the Archivio Marca-Relli under the number MR-6272

MARCIA MARCUS (B.

1928)

Emily oil on canvas 48 x 25 in. (122 x 63.5 cm.) Painted in 1966.

$20,000-30,000

PROVENANCE: Eric Firestone Gallery, New York Acquired from the above by the present owner, 2017

EXHIBITED:

New York, Graham Gallery, Marcia Marcus, November-December 1966. Hartsdale, Alan Brown Gallery, Paintings by Marcia Marcus, January-February 1976. New York, Eric Firestone Gallery, Role Play: Paintings 1958-1973, October-December 2017.

TAKESADA MATSUTANI (B.

1937)

Pocket signed and dated 'Matsutani 1965' (lower right); signed again in English and Japanese, titled and dated '"Pocket" 1965 Matsutani' (on the reverse) vinyl adhesive and acrylic on canvas mounted to panel

25¬ x 20æ in. (65 x 52.7 cm.) Executed in 1965.

$15,000-20,000

PROVENANCE: The artist Galerie Richard, New York Acquired from the above by the present owner, 2013

EXHIBITED: Paris, Galerie Richard, MATSUTANI: Gutai Spirit Forever, February-March 2013, p. 7 (llustrated).

JOHN MCCRACKEN (1934-2011)

Untitled

incised with the artist's signature 'John McCracken' (on the underside)

stainless steel

92 x 18 x 12Ω in. (233.7 x 45.7 x 31.8 cm).

Conceived in 2011 and executed in 2017.

$300,000-500,000

PROVENANCE: David Zwirner, New York

Acquired from the above by the present owner, 2017

MARILYN MINTER (B. 1948)

Curtsy

signed, titled and dated '"CURTSY" M. MINTER 2002' (on the reverse) enamel on metal 60 x 36 in. (152.4 x 91.4 cm.) Painted in 2002.

$50,000-70,000

PROVENANCE: Acquired directly from the artist by the present owner, 2007

TAKASHI MURAKAMI (B.

1962)

Time Bokan - Pink acrylic and canvas mounted on panel 70√ x 70√ in. (180 x 180 cm.) Painted in 2001.

$300,000-500,000

PROVENANCE:

Marianne Boesky Gallery, New York Private collection, Los Angeles Acquired from the above by the present owner, 2017

EXHIBITED:

Tokyo, Museum of Contemporary Art, TAKASHI MURAKAMI: summon monsters? open the door? heal? or die?, August-November 2001, no. 99 (illustrated).

New York, Japan Society, Little Boy: the Arts of Japan's Exploding Subculture, April-July 2005, pp. 14-15 and 200, no. 4 (illustrated).

Los Angeles, Museum of Contemporary Art; Brooklyn Museum of Art; Frankfurt, Museum für Moderne Kunst; Guggenheim Bilbao, ©MURAKAMI, October 2007-May 2009, n.p., (illustrated).

LITERATURE:

G. McQuilten, Art in Consumer Culture, Mis-Design, New York, 2011, pp. 22 and 30. T. Morris-Suzuki, M. Low, L. Petrov and T. Tsu, East Asia Beyond the History Wars: Confronting the ghosts of violence, New York, 2013, p. 160.

TAKASHI MURAKAMI

(B. 1962)

Kōrin: Tranquility

signed and dated 'Takashi 2015' (on the reverse) acrylic and platinum and gold leaf on canvas mounted on panel diameter: 59 in. (150 cm.)

Executed in 2015.

$500,000-700,000

PROVENANCE: Blum and Poe, Los Angeles

Acquired from the above by the present owner

JOAN MITCHELL

(1925-1992)

Untitled oil on canvas

20¬ x 22Ω in. (52.3 x 57.2 cm.)

Painted circa 1955.

$600,000-800,000

PROVENANCE:

Estate of Joan Mitchell

Private collection, France, 2004

Lennon, Weinberg, Inc., New York

Acquired from the above by the present owner, 2010

YOSHITOMO NARA (B. 1959)

Portrait signed, inscribed and dated 'No Title Nara '02' (on the reverse) colored pencil and acrylic on envelope 11¿ x 10 in. (28.2 x 25.4 cm.) Executed in 2002.

$120,000-180,000

PROVENANCE:

Tomio Koyama Gallery, Tokyo Diego Cortez Arte Ltd., New York Acquired from the above by the present owner, 2003

LITERATURE:

Yoshitomo Nara: The Complete Works, Works on Paper, San Francisco, 2011, p. 192 and 374, no. D-2002-177 (illustrated).

YOSHITOMO NARA (B. 1959)

E.S.P. signed, titled and dated 'E.S.P. Nara '02' (on the reverse) colored pencil on envelope 10æ x 10¿ in. (27.3 x 25.7 cm.) Executed in 2002.

$120,000-180,000

PROVENANCE:

Tomio Koyama Gallery, Tokyo Diego Cortez Arte Ltd., New York Acquired from the above by the present owner, 2003

LITERATURE:

Yoshitomo Nara: The Complete Works, Works on Paper, San Francisco, 2011, pp. 192 and 374, no. D-2002-180 (illustrated and incorrectly titled E.S.T.).

BRUCE NAUMAN (B.

1941)

Double Poke in the Eye II

signed and numbered 'Bruce Nauman 31 ' (on a paper label affixed to the reverse)

neon and white aluminum box

24 x 36 x 9º in. (61 x 91.4 x 23.4 cm.)

Executed in 1985. This work is number thirty-one from an edition of forty plus eight artist's proofs.

$400,000-600,000

PROVENANCE:

Brooke Alexander Inc., New York

Acquired from the above by the present owner, 2006

EXHIBITED:

New York, New Museum, Bruce Nauman, 1987 (another example exhibited).

Cologne, Galeries Daniel Buchholz, Multiples, September-October 1987 (another example exhibited).

New York, Leo Castelli Gallery, Art Against AIDS, June 1987 (another example exhibited).

New York, Josh Baer Gallery, Schizophrenia, September 1987 (another example exhibited).

Syracuse, Everson Museum of Art; Cincinnati, Contemporary Arts Center; New York, IBM Gallery of Science and Art and Miami, The Center for the Fine Arts, Digital Visions: Computers and Art, September 1987-September 1988, p. 144 (illustrated; another example exhibited).

Cleveland Museum of Art, Illuminations: The Art of Light, September-December 1987 (another example exhibited).

Indianapolis Center for Contemporary Art, Herron Gallery, Welcome Back: Painting, Sculpture and Works on Paper by Contemporary Artists from Indiana, January-February 1988 (another example exhibited).

New York, Kent Fine Art, Altered States, April-May 1988 (another example exhibited).

New York, Brooke Alexander Editions, Selected Prints 1960-1989, March-May 1989 (another example exhibited).

Chicago, Donald Young Gallery, Bruce Nauman: Prints 1970-89, September-October 1989, p. 127 (illustrated; another example exhibited).

New York, Hirschl and Adler Modern, Multiples, May-June 1990 (another example exhibited).

St. Louis, Washington University, Steinberg Hall, Bruce Nauman: Light Works, January-March 1993 (another example exhibited).

LITERATURE:

J. Silverthorne, "Bruce Nauman: Collaboration," Parkett, no. 10, September 1986, p. 16 (another example illustrated).

N. Benezra, et. al., Bruce Nauman: exhibition catalogue and catalogue raisonné, exh. cat., Minneapolis, Walker Art Center, 1994, p. 294, no. 333 (another example illustrated).

J.D. Ketner II, Elusive Signs: Bruce Nauman Works of Art, exh. cat., Milwaukee Art Museum, 2006, p. 78, no. 69 (another example illustrated).

BRUCE NAUMAN (B.

1941)

Untitled (from Fifteen Pairs of Hands)

stamped with the artist's initials, number and date "B.N. 1996 D 1/2" (on the lower edge) white bronze, on artist's base 58 x 11 x 11 in. (147.3 x 28 x 28 cm.)

Executed in 1996. This work is number one from an edition of two plus one artist's proof.

$700,000-1,000,000

PROVENANCE:

The artist

Konrad Fischer Gallery, Dusseldorf

James Cohan Gallery, New York

Acquired from the above by the present owner, 2003

EXHIBITED:

New York, Leo Castelli, Bruce Nauman: Fifteen Pairs of Hands, November-December 1996 (another example exhibited).

Venice, United States Pavilion, 53rd International Art Exhibition, La Biennale di Venezia Bruce Nauman: Topological Gardens, June-November 2009 (another example exhibited).

Washington, D.C., National Gallery of Art, Bruce Nauman: Fifteen Pairs of Hands, March 2011-January 2012 (another example exhibited).

ALBERT OEHLEN

(B. 1954)

Untitled

oil and acrylic on stitched, printed fabric 69 x 57 in. (175.3 x 144.8 cm.) Executed in 1992.

$800,000-1,200,000

PROVENANCE:

Galerie Bärbel Grässlin, Frankfurt Acquired from the above by the present owner, 2007

EXHIBITED:

Seville, Galería Juana de Aizpuru, Albert Oehlen, January-March 1994.

Prague, Národní Galerie, Herbert Brandl, Albert Oehlen, Christopher Wool, SeptemberNovember 1994.

Hamburg, Deichtorhallen, Albert Oehlen. Malerei December 1994-January 1995.

Valencia, IVAM Centre del Carme, Albert Oehlen, April-June 1996.

Bilbao, Sala Rekalde, Albert Oehlen, JanuaryMarch 1997.

Basel, Kunsthalle Basel, Albert Oehlen. Albert vs. History, March-May 1997. Oslo, Galleri K, Albert Oehlen, SeptemberOctober 1998.

Oslo, Galleri K, Paintings, November-December 2004.

LITERATURE:

Günther Förg, Axel Hütte, Martin Kippenberger, Gerhard Merz, Albert Oehlen, Jack Pierson, Sigmar Polke, Andres Serrano, Thomas Struth, Bjorn Sigurd Tufta, exh. cat., Oslo, Galleri K, 1998, p. 12 (illustrated).

MINORU ONODA

(1937-2008)

WORK67-13

oil, gofun and glue on plywood

17¬ x 17¬ in. (44.8 x 44.8 cm.)

Executed in 1967.

$20,000-30,000

PROVENANCE:

Estate of Minoru Onoda

Taka Ishii Gallery, Tokyo

Acquired from the above by the present owner, 2018

MINORU ONODA

(1937-2008)

WORK66-14

signed in English and Japanese and dated '1966. Minoru Onoda' (on the reverse) oil, gofun and glue on plywood 18 x 18 in. (45.7 x 45.7 cm.)

Executed in 1966.

$20,000-30,000

PROVENANCE:

Estate of Minoru Onoda

Taka Ishii Gallery, Tokyo

Acquired from the above by the present owner, 2018

ALFONSO OSSORIO

(1901-1990)

Playing Children

ink, graphite, wax resist and watercolor on paper mounted on shaped painted panel

34 x 22 in. (86.4 x 55.8 cm.)

Executed in 1950.

$40,000-60,000

PROVENANCE: The artist

Signa Gallery, East Hampton

Betty Parsons Gallery, New York

Cordier & Ekstrom, Inc., New York

Galerie Beyeler, Basel

Vanderwoude Tananbaum Gallery, New York

Dr. Jeffrey Belkin, Farmington Hills

Michael Rosenfeld Gallery LLC, New York, NY

Acquired from the above by the present owner, 2013

EXHIBITED:

Solothurn, Galerie Bernard, Amerikanische Malerie, October 1964-February 1965.

New York, Michael Rosenfeld Gallery LLC, Alfonso Ossorio: Blood Lines, 1949-1953, SeptemberOctober 2013.

ALFONSO OSSORIO

(1901-1990)

Sing for Your Supper

ink, wax resist and watercolor on paper

29Ω x 22Ω in. (75 x 57.2 cm.)

Executed in 1950.

$60,000-80,000

PROVENANCE:

Private collection

Jennifer Pinto Safian, New York

Private collection, United States Dickinson, New York

Acquired from the above by the present owner, 2019

EXHIBITED: New York, Dickinson, Beauty Shared: A Collector’s Vision, New York, April-June 2019.

STEVEN PARRINO

(1958-2005)

The Caustic Pill

stamped 'STEPHEN PARRINO' (lower right side edge); signed, titled and dated 'Steven Parrino 2001 The Caustic Pill' (on the stretcher)

acrylic and enamel on canvas 84 x 84 in. (213.4 x 213.4 cm.)

Executed in 2001.

$500,000-700,000

PROVENANCE:

Private collection, acquired directly from the artist Anon. sale; Sotheby's, New York, 10 November 2011, lot 426

David Zwirner Gallery, New York

Acquired from the above by the present owner, 2015

EXHIBITED:

Geneva, Musée d'art moderne et contemporain (MAMCO); Paris, Palais de Tokyo, Steven Parrino: Rétrospective, February 2006-August 2007.

Zurich, Galerie Andrea Caratsch, Steven Parrino, February-April 2008.

PAT PASSLOF (1928-2011)

Mulberry

signed and dated 'Passlof 67' (lower center); signed again, titled and dated again 'Passlof '67 "Mulberry"' (on the stretcher) oil on canvas

70 x 30 in. (177.8 x 76.2 cm.)

Painted in 1967.

$30,000-50,000

PROVENANCE:

The Milton Resnick and Pat Passlof Foundation, New York

Eric Firestone Gallery, New York

Acquired from the above by the present owner

EXHIBITED:

New York, The Milton Resnick and Pat Passlof Foundation, Pat Passlof: The Brush Is the Finger of the Brain, October-April 2020.

FRANCIS PICABIA

(1879-1953)

Sans titre (La Seine et l'Institut de France, Paris)

signed and dated 'Francis Picabia 1901.' (lower left) oil on canvas laid down on board

13æ x 18æ in. (34.8 x 47.6 cm.)

Painted in 1901

$30,000-50,000

PROVENANCE:

Anon. sale, Hauswedell & Nolte, Hamburg, 4 June 1977, lot 1234.

Timothy Baum, New York (by 1983).

Diego Cortez Arte, Ltd., New York. Acquired from the above by the present owner, 25 June 1986.

LITERATURE:

W.A. Camfield, B. and P. Calté, C. Clements and A. Pierre, Francis Picabia: Catalogue Raisonné, 1898-1914, New Haven, 2014, pp. 41 and 172, no. 21 (illustrated, p. 172).

FRANCIS PICABIA

(1879-1953)

Ilma's Paris Horizons

signed, titled and dated 'Ilma's Paris Horizons par Francis Picabia 11 mai 1951' (lower left)

brush and pen and India ink on paper 25¬ x 19¬ in. (65.1 x 49.8 cm.)

Executed on 11 May 1951

$40,000-60,000

PROVENANCE:

(probably) Olga Picabia (by descent from the artist). Galerie Neuendorf, Hamburg (probably acquired from the above, circa 1980s). Diego Cortez Arte, Ltd., New York. Acquired from the above by the present late owner, 26 March 1986.

SIGMAR POLKE (1941-2010) Farbprobe

signed, titled, inscribed and dated 'Sigmar Polke

86 Farbprobe: Kunstoff Siegel Violettes Pigment' (on the stretcher)

artificial resin and pigment on canvas

19¬ x 15æ in. (49.8 x 40 cm.)

Executed in 1986.

$40,000-60,000

PROVENANCE:

Galerie Klein, Bad Munstereifel

Schoenewald Fine Arts, Krefeld

Anthony Meier Fine Arts, San Francisco

Private collection, United States

Acquired from the above by the present owner

EXHIBITED:

Koln, Salon Verlag; Bad Munstereifel, Galerie

Klein, Sigmar Polke: Experiments in Colour

- Experiments wirh Materials - Experimental Paintings from 1973 to 1986, 1999, no. 45 (illustrated).

KEN PRICE

(1935-2012)

Kabongy DeMilo

acrylic on fired clay

18Ω x 9Ω x 9æ in. (47 x 24.1 x 24.7 cm.)

Executed in 2001.

$150,000-200,000

PROVENANCE:

Franklin Parrasch Gallery, New York

Private collection, New York

Acquired from the above by the present owner

RICHARD PRINCE (B.

1949)

I Had a Dream About You

signed, titled and dated twice '7/20/88 3:45:21

R. Prince 1988 "I HAD A DREAM ABOUT YOU"'

(on the overlap)

silkscreen and acrylic on canvas

66 x 54 in. (167 x 137 in.)

Executed in 1988.

$300,000-500,000

PROVENANCE:

Barbara Gladstone Gallery, New York

Private collection

Acquired from the above by the present owner, 2007

RICHARD PRINCE

(B. 1949)

Untitled (De Kooning)

signed, titled and dated '2006 Richard Prince

UNTITLED (DE KOONING)' (on the overlap)

acrylic and inkjet on canvas

52Ω x 74 in. (133.4 x 187.9 cm.)

Executed in 2006.

$400,000-600,000

PROVENANCE:

Skarstedt Gallery, New York

Acquired from the above by the present owner, 2009

RICHARD PRINCE

(B. 1949)

Untitled (Couple) [Four Works]

signed, numbered and dated 'Richard Prince 4/10 1977-79' (on the reverse of each print); numbered and dated again '4/10 1977-79' (on the backing board of each work)

Ektacolor print

each sheet: 19æ x 24 in. (50.2 x 61 cm.)

each image: 15Ω x 23 in. (39.4 x 58.4 cm.)

Executed in 1977-1979. These works are number four from an edition of ten.

$200,000-300,000

PROVENANCE:

Barbara Gladstone Gallery, New York Private collection, New York Acquired from the above by the present owner

EXHIBITED:

Musem fur Gegenwartskunst Basel; Kunsthalle Zurich; Kunstmuseum Wolfsburg, Richard Prince, Paintings - Photographs, December 2001-July 2002 (other examples exhibited and illustrated). Munich, Sammlung Goetz, Richard Prince, November-May 2005, pp. 67 and 161 (other examples exhibited and illustrated, installation views illustrated).

LITERATURE:

Richard Prince Photographs 1977-1979, exh. cat., New York, Skarstedt Fine Art, 2001, pp. 10-11 (other examples illustrated).

R. Brooks, Richard Prince, New York, 2003, pp. 44-45, 158 (other examples illustrated).

M. Newman, Richard Prince Untitled (Couple), London, 2006 (other examples illustrated on the front cover).

CAROL RAMA (1918-2015)

Sortilegi

signed and dated ‘CAROL RAMA 1987’ (lower left); signed, titled and dated again ‘CAROL RAMA 1987 ‘SORTILEGI,’ (on the stretcher)oil, graphite, ink, gouache and glass on paper mounted on canvas

43 x 29 in. (109.2 x 73.7 cm.)

Executed in 1987.

$15,000-20,000

PROVENANCE:

Paolo Fossati, Turin, gift of the artist Esso Gallery, New York

Acquired from the above by the present owner, 2014

LITERATURE:

P. Fossati, Carol Rama, Turin, 1989 (illustrated on the cover).

MARTIAL RAYSSE

(B. 1936)

L'appel des cimes: Tableau Horrible

signed twice with the artist's initials 'M R' (on the reverse)

oil, neon, plastic, printed paper collage and espadrille on canvas

51 x 74æ in. (129.5 x 190 cm.)

Executed in 1965.

$150,000-200,000

PROVENANCE:

Galerie Alexandre Iolas, Paris Collection Bernard Monnier, France, 1965 Luxembourg & Dayan, New York

Acquired from the above by the present owner, 2015

EXHIBITED:

Paris, Galerie Alexandre Iolas, …Made in Japan… Tableau horrible…Tableau de mauvais goût, JuneJuly 1965.

Amsterdam, Stedelijk Museum, Rétrospective Martial Raysse, maître et esclave de l’imagination, October-November 1965, no. 55 (illustrated).

Brussels, Palais des Beaux-Arts, Martial Raysse, March-April 1967, no. 23 (illustrated).

Paris, Galerie Nationale du Jeu de Paume; Vienna, Museum Moderner Kunst; Valencia, Institut Valencià d’Art Modern Centre Julio Gonzalez; Nîmes, Carré d'Art. Martial Raysse, 1992-1993, pp. 61, 86 and 300, no. 44 (illustrated).

Paris, Centre Pompidou, Martial Raysse, 19602014, 2014, pp. 25, 109 and 295 (illustrated).

LITERATURE:

H. Pardee, "Hippie Pop: Martial Raysse at the Pompidou", artcritical, Paris, 18 October 2014 (illustrated).

"Itinéraire d'un peintre de la vie moderne Le Jeu de Paume consacre le retour de Martial Raysse," Le Monde, Paris, 1 December 1992.

This work is registered in the inventory of Martial Raysse's work under archive number IMR-0269

MILTON RESNICK

(1917-2004)

Untitled signed and dated 'Resnick 49' (lower edge) oil on paper laid down on board 30 x 40 in. (76.2 x 101.6 cm.)

Executed in 1949.

$40,000-60,000

PROVENANCE: Allan Stone Projects, New York Private collection, New York Acquired from the above by the present owner

JAMES ROSENQUIST (1933-2017)

Women’s Intuition

signed and dated 'James Rosenquist 1998'

PROVENANCE:

Baldwin Gallery, Aspen, 1999 Private collection, Australia Simon Lee Gallery, New York Acquired from the above by the present owner, 2013

EXHIBITED:

New York, Feigen Contemporary, James Rosenquist, After Berlin: New Paintings, October–November 1998.

Aspen, Baldwin Gallery, James Rosenquist, Meteors: New Paintings, March–May 1999.

LITERATURE:

L. Yablonsky, "James Rosenquist, "After Berlin"," Time Out New York, 26 November 1998, p. 64 (illustrated).

James Rosenquist: Paintings 1996–1999, exh. cat., Aspen, Baldwin Gallery, 1999, n.p., (illustrated). S. Flock, “Masters of Art,” Florida International, January 2001, p. 41 (illustrated).

J. van der Marck, “Reminiscing on the Gulf of Mexico: A Conversation with James Rosenquist,” American Art, vol. 20, no. 3, Fall 2006, pp. 106-107.

J. Rosenquist and D. Dalton, Painting Below Zero: Notes on a Life in Art, New York, 2009, p. 323.

$600,000-800,000

James Rosenquist: The Hole in the Middle of Time and the Hole in the Wallpaper, exh. cat., New York, Acquavella Gallery, 2010, p. 17.

(on the reverse) oil on canvas stretched over panel 60 x 156 in. (152.4 x 396.24 cm.) Painted in 1998.

“

Women’s Intuition came first. . . It is about a woman’s ability to think fi ve years ahead. Women and artists have better insight into the near future. They have more imagination. We have to invent the future so you guys can describe it.”

JAMES ROSENQUIST

GERHARD RICHTER

(B. 1932)

Untitled (Plan for Creamcheese)

signed and dated 'Richter 67' (lower right) oil, graphite, ink, tape and printed paper collage on paper

11¬ x 8º in. (29.5 x 21 cm.)

Executed in 1967.

$40,000-60,000

PROVENANCE:

Private collection, New Jersey

Galerie Volker Diehl, Berlin

Acquired from the above by the present owner

GERHARD RICHTER (B.

1932)

Pyramide

signed, numbered and dated '5/10 Richter X.66' (on the reverse)

black and white photograph on photographic canvas mounted on panel 36 x 38 in. (91.4 x 96.5 cm.)

Executed in 1966. This work is number five from an edition of ten.

$150,000-200,000

PROVENANCE:

Private collection, New York Acquired from the above by the present owner, 2010

LITERATURE:

Multiples and Graphics, exh. cat., Karlsruhe, Galerie Rottloff, 1966, n.p. (another example from the edition illustrated).

R. Block (ed.), Grafix des Kapitalistischen Realismus, Berlin, 1971, pp. 144 (another example from the edition illustrated).

Upheavals, Manifestos, Manifestationen. Conceptions in the Arts at the Beginning of the Sixties, exh. cat., Cologne, 1984, p. 193.

H. Butin, Gerhard Richter: Editions 1965-2004, Ostfildern-Ruit, 2004, pp. 95, 136 (another example from the edition illustrated).

D. Elger, Gerhard Richter: A Life in Painting, Chicago, 2009, pp. 102-103 (another example from the edition illustrated).

H. Butin, Gerhard Richter: Editions 1965-2013, Ostfildern, 2014, pp. 121, 158 (another example from the edition illustrated).

ED RUSCHA (B.

1937)

The Future

signed and dated 'Ed Ruscha 1981' (on the reverse); dated 'July 18, '81' (on the overlap) oil on canvas 22 x 80 in. (55.8 x 203.2 cm.) Painted in 1981.

$800,000-1,200,000

PROVENANCE:

James Corcoran Gallery and Devorzon Galleries, Los Angeles

Mr. and Mrs. Roy Carver, California

Anon. sale; Sotheby's, New York, 2 May 1989, lot 83

The Marciano Group, Los Angeles

Michael Kohn Gallery, Los Angeles

Paul Kasmin Gallery, New York

Acquired from the above by the present owner, 2010

EXHIBITED:

Lyon, Musée St-Pierre, Edward Ruscha, OctoberNovember 1985, p. 94 (illustrated).

Los Angeles, Japanese-American Community Cultural Center, August 1945-August 1985: Imagine There's a Future, 1985.

LITERATURE:

R. Dean and E. Wright, eds., Edward Ruscha: Catalogue Raisonné of the Paintings, Volume Two: 1971-1982, New York, 2005, pp. 366-367, n. P1981.06 (illustrated).

ROBERT RYMAN

(1930-2019)

Untitled #25

signed

11

$800,000-1,200,000

PROVENANCE:

Private collection, gift of the artist, 1986 Galerie Lelong, New York, 1989

Private collection, Minneapolis, 1989 Richard Gray Gallery, Chicago

Private collection, San Francisco, 2004 PaceWildenstein, New York NYEHAUS, New York

Acquired from the above by the present owner, 2008

EXHIBITED:

Seattle, Current Editions, Robert Ryman: Drawings and Paintings, August 1972.

LITERATURE:

V. Colaizzi, Robert Ryman, London, 2017, pp. 150 and 173 (illustrated).

This work will be listed as number 1963.0544 in the forthcoming catalogue raisonné being organized by David Gray.

'Ryman' (center left) oil on unstretched linen

Ω x 11Ω in. (29.2 x 29.2 cm.) Painted circa 1963.

BETYE SAAR

(B. 1926) Her Story

signed, titled and dated 'Her Story Betye Saar 2005' (on the underside of the stand) found object construction—plastic figurines, washboard, chain, lock, key, wood stand and toy objects assemblage

36Ω x 15 x 13 in. (92.7 x 38.1 x 33 cm.)

Executed in 2005.

$80,000-120,000

PROVENANCE:

Roberts Projects, Los Angeles

Acquired from the above by the present owner

EXHIBITED:

Sittard, Museum De Domijnen; Scottsdale Museum of Contemporary Art, Betye Saar: Still Tickin', June 2015-May 2016. Los Angeles, Sprüth Magers, Power, MarchJune 2017.

YOSHISHIGE SAITO

(1904-2001)

Untitled

signed in English and Japanese and dated 'Y. Saito 62' (on the reverse)

oil on wood-panel relief

51º x 38¿ in. (130.2 x 96.8 cm.)

Executed in 1962.

$30,000-50,000

PROVENANCE:

Private collection

Anon. sale; Sotheby's, London, 2 July 2008, lot 255

Private collection

Taka Ishii Gallery, Tokyo

Acquired from the above by the present owner, 2017

EXHIBITED:

Oslo, Kunstnernes Hus, Yoshishige Saito, 1971, no. 5.

Oslo, Henie Onstad Kunstsenter, Sal Haaken, 2003, p. 193 (illustrated).

TOM SACHS (B. 1966)

Prada Value Meal

signed and dated 'Tom Sachs 1/16/98' (on the underside of the box lid)

ink, paper and thermal adhesive with cardboard

Prada box

overall: 11 3/4 x 11 1/4 x 6 3/4 in. (39.8 x 28.6 x 17.1 cm.)

Executed in 1998.

$40,000-60,000

PROVENANCE:

Galerie Thaddaeus Ropac, Paris

Galerie Maurice Inc., Chestnut Hill

Acquired from the above by the present owner, 1999

SAINT CLAIR CEMIN

(B. 1951)

Amour

signed, numbered and dated 'CEMiN 88 1/3' (on the underside of the base)

travertine and bronze with redwood base

overall: 48 x 30 x 30 in. (121.9 x 76.2 x 76.2 cm.) Executed in 1988. This work is number one from an edition of three.

$8,000-12,000

PROVENANCE:

Massimo Audiello Gallery, New York

Acquired from the above by the present owner, 1989

EXHIBITED:

Boston, Grossman Gallery, School of the Museum of Fine Arts, Between Intuition & ReasonSaint Clair Cemin & Jonathan Lasker, FebruaryMarch 1991.

Washington, D.C., Hirshhorn Museum and Sculpture Garden, Directions: Saint Clair Cemin, October 1991-January 1992 (illustrated on the cover).

LITERATURE:

K. Shoin, ArT RANDOM: Saint Clair Cemin, Kyoto, 1989 (illustrated on the frontispiece).

PARK SEO-BO

(B. 1931)

Ecriture No. 22-81

signed, titled, inscribed and dated in English and Korean 'PARK, SEO-BO (1931 ~ ) ECRITURE No. 22-81 1981. (à AN SEONG) S.B Park' (on the reverse) graphite and oil on hemp cloth

23æ x 28¡ in. (60.3 x 72 cm.)

Executed in 1981.

$120,000-180,000

PROVENANCE: The artist Private collection, Korea, Wellside Gallery, Seoul Acquired from the above by the present owner, 2017

CINDY SHERMAN (B.

1954)

Untitled

signed, numbered and dated 'Cindy Sherman 8/10 1977' (on the reverse)

gelatin silver print

10 x 8 in. (25.4 x 20.3 cm.)

Executed in 1977. This work is number eight from an edition of ten.

$100,000-150,000

PROVENANCE:

Metro Pictures, New York

Acquired from the above by the present owner

EXHIBITED:

Rotterdam, Museum Boijmans Van Breuningen; Madrid, Palacio de Velazquez, Parque del Retiro, Museo Nacional Centro de Arte Reina Sofia; Bilbao, Sala de Exposiciones Rekalde; BadenBaden, Staatliche Kunsthalle, Cindy Sherman, March 1996-March 1997, p. 21, (illustrated; another example exhibited).

Chicago, Museum of Contemporary Art; Los Angeles, The Museum of Contemporary Art, Cindy Sherman Retrospective, November 1997May 1998, p. 56,(illustrated; another example exhibited).

Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebaek, Louisiana Museum of Modern Art; Berlin, Martin Gropius-Bau, Cindy Sherman, May 2006-September 2007, p. 33, (illustrated; another example exhibited).

New York, The Museum of Modern Art, Cindy Sherman, February-June 2012, p. 102, (illustrated; another example exhibited).

LITERATURE:

R. Krauss, Cindy Sherman, New York, 1993, p. 224 (another example illustrated).

Cindy Sherman: The Complete Untitled Film Stills, exh. cat., New York, Museum of Modern Art, 2003, p. 87 (another example illustrated).

CINDY SHERMAN

(B. 1954)

Untitled

signed, numbered and dated 'Cindy Sherman 9/10 1977' (on the reverse)

gelatin silver print

8 x 10 in. (20.3 x 25.4 cm.)

Executed in 1977. This work is number nine from an edition of ten plus two artist's proofs.

$150,000-200,000

PROVENANCE:

Metro Pictures, New York

Acquired from the above by the present owner, 2007

EXHIBITED:

Paris, Jeu de Paume; Kunsthaus Bregenz; Humlebæk, Louisiana Museum of Modern Art and Berlin, Martin-Cropius-Bau, Cindy Sherman, May 2006-September 2007, pp. 32, 54 and 316 (another example illustrated and exhibited).

New York, Museum of Modern Art; San Francisco Museum of Modern Art; Minneapolis, Walker Art Center and Dallas Museum of Art, Cindy Sherman February 2012-June 2013, pp. 51 and 103 (another example illustrated and exhibited). Bridgeport, The Housatonic Museum of Art, Rendezvous in Black, November-December 2016 (another example exhibited).

Shanghai, Fosun Foundation, Cindy Sherman, November 2018-January 2019 (another example exhibited).

Montreal Museum of Fine Arts, About Face:

Photographs by Cindy Sherman, Laurie Simmons and Rachel Harrison from the Collection of Carol and David Appel, December 2019-March 2020, p. 56 (another example illustrated on the cover and exhibited).

London, National Portrait Gallery; Vancouver Art Gallery and Paris, Fondation Louis Vuitton, Cindy Sherman, June 2019-March 2021, pp. 68 and 250 (another example illustrated and exhibited).

LITERATURE:

D. Frankel and C. Sherman, eds., The Complete Untitled Film Stills Cindy Sherman, New York, 2003, pp. 7 and 154-155 (another example illustrated).

CINDY SHERMAN

(B. 1954)

Untitled

signed, numbered and dated 'Cindy Sherman AP 1/2 1982' color coupler print

45 x 30 in. (114.3 x 76.2 cm.)

Executed in 1982. This work is number one from two artist's proofs, plus an edition of ten.

$100,000-150,000

PROVENANCE:

Metro Pictures, New York

Private collection, Belgium

Leo Koenig Inc., New York

Acquired from the above by the present owner, 2012

EXHIBITED:

New York, Whitney Museum of American Art, Cindy Sherman, July-October 1987, no. 64 (illustrated, another example exhibited).

Paris, Jeu de Paume; Bregenz, Kunsthaus Bregenz; Humlebaek, Louisiana Museum of Art and Berlin, Martin-Gropius-Bau, Cindy Sherman, May 2006-June 2007, pp. 105 and 251 (illustrated, another example exhibited).

LITERATURE:

Cindy Sherman, New York, 1984, no. 64 (another example illustrated).

P. Schjeldahl and M. Danoff, Cindy Sherman, New York, 1984, no. 62 (another example illustrated). Cindy Sherman, Tokyo, 1987, p. 45 (another example illustrated).

R. Krauss, Cindy Sherman: 1975 - 1993, New York, 1993, p. 100 (another example illustrated).

J. Burton, Cindy Sherman, Cambridge and London, 2006, p. 211, no. 54 (another example illustrated).

CINDY SHERMAN

(B. 1954) AND

RICHARD PRINCE

(B. 1949)

Double Self-Portrait

ektacolor print, in two parts each image: 151/4 x 231/4 in. (38.7 x 59 cm.) Executed in 1980. This work is from an edition of ten.

$300,000-500,000

PROVENANCE:

Richard Prince, New York Arron Klein, 1980 Corkin Shopland Gallery, Toronto Private collection, New York, 2005 Acquired from the above by the present owner, 2009

EXHIBITED:

Munich, Sammlung Goetz, Jürgen Klauke, Cindy Sherman, September-March 1994, pp. 10 and 46 (illustrated, another example exhibited).

Paris, Musée National d'Art Moderne, Centre Georges Pompidou, fémininmasculin-Le sexe de l'art, October 1995-February 1996, pp. 138 and 382, nos. 164-165 (illustrated, another example exhibited).

New York, The Museum of Modern Art, On the Edge: Contemporary Art from the Werner and Elaine Dannheisser Collection, September 1997-January 1998, p. 112 (illustrated, another example exhibited).

Toronto, The Power Plant, American PlayhouseThe Theatre of Self-Representation, JuneSeptember 1998, pp. 74-75 and 101 (illustrated, another example exhibited).

Tokyo, Hara Museum of Contemporary Art; Hanover, Kestner-Gesellschaft; Paris, Centre National de la Photographie; Berlin, Akademie der Künste; and New York, P.S.1, The Promise of Photography- The DG Bank Collection, October 1998-October 1999, p. 307 and 353 (illustrated, another example exhibited).

LITERATURE:

D. Salvioni, "Richard Prince, Realist", Parkett, No. 34, Zurich, 1992, p. 106 (another example illustrated).

Richard Prince, New York, Whitney Museum of American Art, 1992, p. 35 (another example illustrated).

E. Janus, Veronica's Revenge- The Lambert Art Collection, Zurich 1998, pp. 241-242 (another example illustrated).

C. Morris, The Essential Cindy Sherman, New York,1999, pp. 4-5 (detail of another example illustrated).

M. Newman, Richard Prince: Untitled (couple), Massachusetts and London, 2006, p. 130.

THOMAS STRUTH

(B. 1954)

Art Institute of Chicago I

signed, titled, numbered and dated 'Thomas Struth Chicago 1990 6/10' (on the reverse) color coupler print, in artist's frame 70 x 82Ω in. (177.5 x 209.5 cm.)

Executed in 1990. This work is number six from an edition of ten.

$100,000-150,000

PROVENANCE:

Achenbach Art Consulting, Düsseldorf

Private collection

Anon. sale; Sotheby's New York, 15 May 2002, lot 60

Acquired at the above sale by the present owner

EXHIBITED:

Washington D.C., Hirshorn Museum & Sculpture Garden, Directions, May-August 1992 (another example exhibited).

Minneapolis, Walker Art Center; Dallas Museum of Modern Art; Saint Louis Art Museum; New York, Guggenheim Museum SoHo; Los Angeles, Lannan Foundation, Photography in Contemporary German Art:1960 to the Present, February 1992-June 1993 (another example exhibited).

Köln, Museum Ludwig; Basel, Museum für Gegenwartskunst; Humlebaek, Louisiana Museum of Modern Art; Minneapolis, Walker Art Center, Photographie in der deutschen Gegenwartskunst, September 1993-May 1994 (another example exhibited).

Hamburg, Kunsthalle Hamburg, Thomas Struth: Museum Photographs, November 1993-January 1994, pp. 56-57, no. 14 (another example exhibited and illustrated).

Nîmes, Carré d’Art - Musée d’art Contemporain; Amsterdam, Stedelijk Museum; Paris, Centre National de la Photographie, Thomas Struth: Still, March 1998-March 1999, pp. 71 and 113 (another example exhibited and illustrated).

Madrid, Museo del Prado, Thomas Struth: Making Time, February-May 2007, pp. 65 and 108 (another example exhibited and illustrated).

Zurich, Kunsthaus Zürich; Dusseldorf, Kunstsammlung NRW; London, Whitechapel Gallery; Porto, Museu Serralves, Thomas Struth, Photographs 1978-2010, 2010-2012, pp. 118-119 (another example exhibited and illustrated). Frankfurt, Städel Museum, Dialog der Meisterwerke. Hoher Besuch zum Jubiläum, October 2015-January 2016 (another example exhibited).

Bilbao, Guggenheim Museum, Thomas Struth, October 2019-January 2020 (another example exhibited)..

LITERATURE:

T. Struth, J. Lingwood and M. Teitelbaum, eds., Thomas Struth:Strangers and Friends, Cambridge, 1994 (illustrated).

H. Belting, ed. Thomas Struth: Museum Photographs, Munich, 1998, pp. 46-47 and105 (illustrated).

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ATSUKO TANAKA

(1932 - 2005)

'99A

signed, titled and dated ''99 '99A' Atsuko Tanaka' (on the reverse) enamel on canvas

45æ x 28Ω in. (116.2 x 72.4 cm.) Painted in 1999-2000.

$200,000-300,000

PROVENANCE:

Private collection, Japan

Anon. sale; Sotheby's, New York, 12 May 2016, lot 167

Acquired at the above sale by the present owner

EXHIBITED:

Ashiya, Ashiya City Museum of Art and History; Shizuoka, Prefectural Museum of Art, Atsuko Tanaka: Search for an Unknown Aesthetic 19542000, 2001, p. 187, cat. no. 296 (illustrated).

RYUJI TANAKA

(1927-2014)

Untitled mineral pigment and mixed media on canvas

51º x 38 in. (130 x 96.5 cm.)

Executed circa 1962.

$40,000-60,000

PROVENANCE:

ARTCOURT Gallery, Osaka

Private collection

Simon Lee Gallery, London

Acquired from the above by the present owner, 2017

MARK TANSEY

(B. 1949)

Study for End of History Victory Party

signed, titled and dated 'Tansey 1992-99 "Study for End of History Victory Party"' (on the reverse) oil on canvas

30 x 42 in. (76.2 x 106.7 cm.)

Painted in 1992-1999.

$300,000-500,000

PROVENANCE:

Curt Marcus Gallery, New York

Alan Koppel Gallery, Chicago

Private collection

Anon. sale; Sotheby's, New York, 25 September

2018

Acquired from above by the present owner, 1990

BILL TRAYLOR

(CIRCA

Purple Horse

$30,000-50,000

PROVENANCE:

Judith Alexander Gallery, Atlanta

Jack Titelman, Atlanta

Robert Reeves, Atlanta

Acquired from the above by the present owner, 1990

1853-1949)

bearing a Charles Shannon label D-191 / HORSE on reverse; with later inscription added to label BT-10 tempera and graphite on repurposed Granger Pipe Tobacco postcard

11 x 18Ω in. (27.9 x 46.9 cm.)

Executed circa 1939-42.

BILL TRAYLOR

(CIRCA 1853-1949)

Untitled (Lynching)

bearing Charles Shannon label E-33 / EXCITING EVENTS on reverse tempera and graphite on repurposed Baby Ruth box 11æ x 8Ω in. (29.8 x 21.6 cm.) Executed circa 1939-42.

$50,000-100,000

PROVENANCE:

Janet Fleisher Gallery, Philadelphia Acquired from the above by the present owner, 1996

EXHIBITED:

Little Rock, Arkansas, The Arkansas Arts Center; New York, Luise Ross Fine Art, Bill Traylor (18541947), 14 October - 28 November 1982 (Little Rock), 13 February - 3 April 1983 (New York).

LITERATURE:

Mechal Sobel, Painting a Hidden Life: The Art of Bill Traylor (Baton Rouge, 2009), 109-112, fig. 4.6, illustrated.

Leslie Umberger, Between Worlds: The Art of Bill Traylor (Washington, D.C., 2019), pp. 251, 344, pl. 196, illustrated.

Bill Traylor, known for his masterful graphite and tempera renderings of figures, animals and exciting events, drew from his experiences as an artist in Montgomery and his memories of plantation life. This tragic and poignant picture is one of three known works by Bill Traylor to depict lynching, and as scholarship suggests, may reference the brutal murder of his son. His intimate experience with lynching, on display here, is cruel and deeply heartbreaking.

MARK TOBEY (1890-1976)

Celestial Space

signed 'Tobey' (lower right) tempera on paper laid down on board 24 x 12 in. (60.9 x 30.4 cm.) Painted circa 1946.

$100,000-150,000

PROVENANCE:

Gordon Woodside/John Braseth Gallery, Seattle Private collection, New York Acquired from the above by the present owner, 2012

Achim Moeller, Managing Principal of the Mark Tobey Project LLC, has confirmed the authenticity. The work is registered in the Mark Tobey archive with the number MT [397-04-07-23].

CY TWOMBLY (1928-2011)

Untitled

oil-based house paint, colored pencil and pencil on paper laid down on canvas

26æ x 39¡ in. (67.9 x 100 cm.) Executed in 1958.

$250,000-350,000

PROVENANCE:

Giorgio Franchetti, Rome Galleria Notizie, Turin Galleria Gian Enzo Sperone, Turin Collection Corrado Levi, Turin Collection Andrea Ruben Levi, Turin Gagosian Gallery, New York Private collection, Modena, 2004 Acquired from the above by the present owner, 2014

LITERATURE:

N. del Roscio, Cy Twombly Drawings: Cat. Rais. Vol. 2 1956-1960, Munich, 2012, no. 89, p. 107 (illustrated).

CY TWOMBLY (1928-2011)

Untitled

signed 'Cy Twombly' (upper center) graphite, wax crayon, colored pencil and ink on paper

19Ω x 23Ω in. (50 x 60 cm.)

Executed in 1963-1964.

$400,000-600,000

PROVENANCE:

Galleria La Tartaruga, Rome

Betty Di Robilant, Porto Ercole

Galerie Karsten Greve, Cologne Private collection, Düsseldorf

Anon. sale; Lempertz, Cologne, 9 June 1995, lot 1312

Cheim & Read, New York

Acquired from the above by the present owner, 1997

EXHIBITED:

Seoul, Kukje Gallery, Cy Twombly: 1960's, April-May 1996 n.p. (illustrated). Cologne, Galerie Karsten Greve, Cy Twombly, June-September 1997, pp. 52-53 and 125 (illustrated).

LITERATURE:

N. del Roscio, Cy Twombly Drawings: Catalogue Raisonné, Vol. 4, 1964-1969, New York, 2014, p. 29, no. 10 (illustrated).

Luca Signorelli, The Damned Cast into Hell, 1499-1504. Orvieto Cathedral, Italy.

Photo: © Ghigo G. Roli / Art Resource, NY.

JACK TWORKOV

(1900-1982)

Study for Transverse

$40,000-60,000

PROVENANCE:

Ilya Schor, New York, gift of the artist Mira Schor, New York, by descent from the above Michael Rosenfeld Gallery LLC, New York Acquired from the above by the present owner

This work is archived as No. 683 in the Jack Tworkov Catalogue Raisonné prepared by Jason Andrew for the Estate of Jack Tworkov.

signed 'Tworkov' (lower right) oil on canvas 19 x 22 in. (48.3 x 55.8 cm.) Painted circa 1956-1957.

GUNTHER UECKER

(B. 1930)

Untitled

signed and dated ‘Uecker 69’ (lower right); signed again, dedicated and dated again ‘Für Raimund Girke von seinem Freund Uecker 1968’ (on the reverse)

oil and nails on canvas laid down on board 45¿ x 43¡ x 4Ω in. (114.6 x 110.7 x 11.4 cm.)

Executed in 1968.

$500,000-700,000

PROVENANCE:

Raimund Girke, gift of the artist, 1968 Galerie Hans Strelow, Düsseldorf Private collection, New York Acquire from the above by the present owner, 2008

LITERATURE:

D. Honisch, Uecker, Stuttgart and New York, 1983, p. 214, no. 572 (titled Nail-Object).

This work is registered in the Uecker Archiv under the number GU.68.002 and will be noted for inclusion in the forthcoming Uecker Catalogue Raisonné.

LEE UFAN (B.

1936)

From winds

signed and dated 'L. Ufan 86' (lower right); signed again, titled and dated 'From winds 1986.8. Lee Ufan' (on the reverse) glue and mineral pigment on canvas

633/8 x 507/8 in. (161 x 129.2 cm.) Painted in 1986.

$800,000-1,200,000

PROVENANCE:

The artist Private collection, Seoul Pace Gallery, New York Acquired from the above by the present owner, 2015

ANDY WARHOL

(1928-1987)

Self-Portrait [Two Works]

signed 'A. Warhol' (on the overlap of each canvas); stamped with the Andy Warhol Art Authentication Board, Inc. stamp and numbered 'A101.086' (on the overlap of red canvas); stamped with the Andy Warhol Art Authentication Board, Inc. stamp and numbered 'A100.086' (on the overlap of pink canvas)

acrylic and silkscreen ink on canvas, in two parts each: 8 x 8 in. (20.3 x 20.3 cm.)

overall: 8 x 16 in. (20.3 x 40.6 cm.)

Painted in 1967.

$600,000-800,000

PROVENANCE:

Private collection, acquired directly from the artist Paul Kasmin Gallery, New York

Private collection, New York

Acquired from the above by the present owner, 2009

ANDY WARHOL

(1928-1987)

Speedboat

$80,000-120,000

PROVENANCE:

Galerie Bruno Bischofberger, Zurich Diego Cortez Arte Ltd., New York Acquired from the above by the present owner, 1991

signed and dated 'Andy Warhol '83' (on the overlap) acrylic and silkscreen ink on canvas 8 x 10 in. (20.3 x 25.4 cm.) Painted in 1983.

ANDY WARHOL (1928-1987) AND JEAN-MICHEL BASQUIAT (1960-1988)

Eggs

signed

Executed in 1986.

$150,000-200,000

PROVENANCE:

Michael Cohen Gallery, Los Angeles

Private collection, 1995

Anon; sale; Sotheby's, New York, 15 May 1998, lot 149

Diego Cortez Arte Ltd., New York

Gift of the above to the present owner, 2006

with Jean-Michel Basquiat's initials 'JMB' (upper left); stamped with the Estate of Andy Warhol and numbered 'D100.996' (on the reverse) acrylic, silkscreen ink and oilstick on canvas 14 x 11 in. (35.5 x 27.9 cm.)

JOHN WESLEY

(1928-2022)

Teresa and the Apprentices

signed, titled and dated ''Teresa & the Apprentices' John Wesley 1968' (on the reverse)

acrylic on canvas

32Ω x 25 in. (82.5 x 63.5 cm.)

Painted in 1968.

$200,000-300,000

PROVENANCE:

Fredericks & Freiser Gallery, New York

Private collection, New York

Acquired from the above by the present owner

EXHIBITED:

Venice, Fondazione Prada, John Wesley, June-October 2009, pp. 120 and 506, no. 186 (illustrated).

JOHN WESLEY

(1928-2022)

signed, titled and dated '"MARY LOU AND HER SISTER" John Wesley 1992' (lower left) gouache on paper

13æ x 17 in. (35 x 43.1 cm.)

Painted in 1992.

$30,000-50,000

PROVENANCE:

Fredericks & Freiser Gallery, New York Private collection, New York

Acquired from the above by the present owner

EXHIBITED:

New York, Jessica Fredericks Gallery, John Wesley: Favorite Works, February-March 1998.

LITERATURE:

John Wesley, exh. cat., Fondazione Prada, Venice, 2009, pp. 390 and 540.

Mary Lou & Her Sister

JOHN WESLEY (1928-2022)

Fruit Tree

signed, titled and dated '"FRUIT TREE"

John Wesley 1996' (on the reverse) acrylic on canvas

44 x 59 in. (111.7 x 149.8 cm.)

Painted in 1996.

$200,000-300,000

PROVENANCE:

Fredericks & Freiser Gallery, New York Private collection, New York Acquired from the above by the present owner

EXHIBITED:

New York, Jessica Fredericks Gallery, John Wesley: Favorite Works, February-March 1998. Venice, Fondazione Prada, John Wesley, JuneOctober 2009, pp. 381, 389-390 and 526, no. 628 (illustrated).

LITERATURE:

P. Plagens, "The Best of 1998: John Wesley at Jessica Fredericks," Artforum, December 1998, pp. 98-99, fig. 6 (illustrated).

John Wesley: Paintings 1961-2000, exh. cat., New York, 2000, p. 180 (installation view illustrated).

WILLIAM T. WILLIAMS

(B. 1942)

Old

Bethel

signed with the artist's initials and dated 'WTW 1970' (lower right); signed with the artist's initials, titled and dated again 'WTW 1970 Old Bethel' (on the reverse)

acrylic and graphite on paper 55Ω x 41 in. (141 x 104 cm.)

Executed in 1970.

$40,000-60,000

PROVENANCE:

Michael Rosenfeld Gallery LLC, New York

Acquired from the above by the present owner, 2019

EXHIBITED:

New York, United States Tennis Association (USTA) President`s Suite, Arthur Ashe Stadium, Celebrating 50 Years of the US Open Championships, August-September 2018.

CHRISTOPHER WOOL (B. 1955)

Untitled

signed, titled, inscribed and dated 'WOOL '87 UNTITLED S17' (on the reverse) enamel and flashe on aluminum 48 x 32 in. (121.9 x 81.3 cm.)

Executed in 1987.

$500,000-700,000

PROVENANCE:

Luhring Augustine, New York

Private collection, Connecticut

Private collection, New York

Private collection, New York

Acquired from the above by the present owner, 2007

EXHIBITED:

New York, Skarstedt Gallery, Christopher Wool: Pattern Paintings 1987-2000, NovemberDecember 2007.

TAKEO YAMAGUCHI

(1902-1983)

Kumi-kei (Combination of Forms)

signed, titled and dated in Japanese (on a label affixed to the reverse)

oil on board

23æ x 35æ in. (60.3 x 90.8 cm.)

Painted in 1962.

$70,000-90,000

PROVENANCE: Private collection

Shinwa Auction Co., Tokyo, 1, 1 February 2009, lot 22

Taka Ishii Gallery, Tokyo

Acquired from the above by the present owner, 2017

EXHIBITED:

New York, Taka Ishii Gallery, Takeo Yamaguchi, February-March 2017.

This work is accompanied by a certificate of authenticity issued by the Takeo Yamaguchi Artwork Registration Association.

TOSHIO YOSHIDA (1928-1997)

Sakuhin14 (53-1)

signed and dated 'Toshio Yoshida 1953' (lower right); signed again and dated 'Toshio Yoshida 1953' (on the reverse) oil on wood 25Ω x 20Ω in. (64.8 x 52 cm.) Painted in 1953.

$15,000-20,000

PROVENANCE:

Estate of Toshio Yoshida Fergus McCaffrey, New York

Acquired from the above by the present owner, 2018

EXHIBITED:

Ashiya, Ashiya City Seido School, The 6th Ashiya City Exhibition, 1953.

TOSHIO YOSHIDA

(1928-1997)

Sakuhin signed and dated 'Toshio Yoshida 1966' (lower right); signed again, titled in Japanese and dated 'Toshio Yoshida 1966' (on the reverse)

acrylic on canvas

57¡ x 43æ in. (145.7 x 111.1 cm.)

Painted in 1966.

$15,000-20,000

PROVENANCE:

Estate of Toshio Yoshida Fergus McCaffrey, New York Acquired from the above by the present owner, 2017

EXHIBITED:

New York, Fergus McCaffrey, Toshio Yoshida, April-June 2017.

TOKUJIN YOSHIOKA

(B. 1967)

Water Block Bench glass and stainless steel

59 x 15æ x 15¡ in. (150 x 40 x 39 cm.)

Designed circa 2002 and executed in 2004. This work is number five from an edition of twelve.

$60,000-80,000

PROVENANCE:

Acquired directly from the artist by the present owner, 2016

The artist’s studio has issued a certificate of authenticity to accompany this lot.

LITERATURE:

R. Niimi, Tokujin Yoshioka Design, New York, 2006, p. 205 (illustrated).

T. Yoshioka, K. Hashiba and A. Medda, Tokujin Yoshioka, New York, 2010, pp. 38-43 (illustrated on the cover).

B. Brownell, Matter in the Floating World: Conversations with Leading Japanese Architects and Designers, New York, 2011, p. 247.

Tokujin Yoshioka: Crystalize, exh. cat., Museum of Contemporary Art Tokyo, Tokyo, 2013, pp. 12-15 and 86-92.

"Yoshioka Tokujin: the leading designer behind the Tokyo 2020 Olympic and Paralympic torches", Japan House, 2019 (illustrated).

POST-WAR AND CONTEMPORARY ART HONG KONG

PARK SEO-BO (B. 1931)

Écriture no. 15-76

signed, titled, inscribed and dated in English and Korean 'PARK, SEO-BO ÉCRITURE

NO. 15-76 1976. à Séoul. S.B Park' (on the reverse) graphite and oil on hemp cloth

51Ω x 63¡ in. (130.7 x 161 cm.)

Executed in 1976.

HK$4,000,000-6,000,000

YAYOI KUSAMA

(B. 1929)

Untitled (Flower)

tempera and ink on paperboard

31æ x 20√ in. (80.6 x 53 cm.)

Executed in 1970.

HK$3,200,000-4,800,000

LUCIE RIE

(1902-1995)

Cylindrical pot, circa 1968

stoneware, pitted off-white glaze over a finely fluted body

6¿ in. (15.5 cm) high, 7 3/16 in. (18.3 cm) diameter impressed with artist’s seal

$6,000-8,000

LUCIE RIE

(1902-1995)

Vase, circa 1965

stoneware, pitted white glaze, fluted body, squeezed oval at the lip

7 x 6 x 6¿ in. (17.8 x 15.2 x 15.5 cm) impressed with artist’s seal

$10,000-15,000

LUCIE RIE

(1902-1995)

Important Tall Vase with Collar, 1984

stoneware, pitted white glaze, flaring neck squeezed to an oval at the lip

15Ω in. (39.3 cm) high, 6Ω in. (16.4 cm) diameter impressed with artist’s seal

$30,000-50,000

HANS COPER

(1920-1981)

Hourglass Form Vase, circa 1975

stoneware, thrown and assembled, turned spirals and texturing beneath layers of vitreous slip and manganese glaze

13æ in. (34.9 cm) high, 4æ in. (12.1 cm) wide impressed with artist’s seal

$30,000-50,000

HANS COPER

(1920-1981)

Early Vase with Painted Foot and Angled Lip, 1952

stoneware, textured body rubbed with dry manganese glaze and cream slips, the foot with a painted design

12Ω in. (31.7 cm) high, 7æ in. (19.7 cm) diameter impressed with artist’s seal

$30,000-50,000

ETTORE SOTTSASS (1917-2007)

Rare and Important 'Menhir della Vita', 1966

glazed ceramic

7 ft. 8 in. (233.7 cm) high, 1 ft. (30.5 cm) diameter three elements signed SOTTSASS ‘66 and each element is numbered

$200,000-300,000

BRASSAÏ (1899–1984)

Young Prostitute in Dress, 1931

ferrotyped gelatin silver print signed, titled, dated and annotated in pencil, stamped photographer’s studio credit in ink (verso) image/sheet: 9 x 7 in. (22.8 x 17.7 cm.)

$10,000-15,000

MAN RAY (1890–1976)

Marie-Laure De Noailles, 1936

gelatin silver print, mounted on board stamped photographer’s credit ‘MAN RAY - 8 RUE / DU VAL-DE-GRACE / PARIS 5e - FRANCE / DANTON 92-25’ in ink (on the reverse)

image/sheet: 8 5/8 x 6 5/8 in. (21.9 x 16.8 cm.)

$20,000-25,000

ROBERT MAPPLETHORPE

(1946–1989)

Francesco Clemente, 1985

platinum-palladium print, mounted on board signed, dated and numbered '1/3' in pencil (margin)

image: 19 1/4 x 19 1/2 in. (48.8 x 49.5 cm.)

sheet: 25 5/8 x 22 1/8 in. (65 x 56.1 cm.)

This work is number one from an edition of three.

$10,000-15,000

AUGUST SANDER (1876–1964)

Der Maler Anton Räderscheidt, Köln, 1927

gelatin silver print, mounted on board embossed photographer's credit (recto); signed 'A. Sander,' annotated and dated in pencil, credited, titled, dated and annotated on affixed label (overmat, recto)

image: 9 x 6 1/2 in. (22.8 x 16.5 cm.)

mount: 18 1/2 x 14 1/4 in. (46.9 x 36.1 cm.)

$70,000-90,000

CONDITIONS OF SALE • BUYING AT CHRISTIE’S

CONDITIONS OF SALE

These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice set out the terms on which we offer the lots listed in this catalogue for sale. By registering to bid and/or by bidding at auction you agree to these terms, so you should read them carefully before doing so. You will find a glossary at the end explaining the meaning of the words and expressions coloured in bold.

As well as these Conditions of Sale, lots in which we offer Non-Fungible Tokens are governed by the Additional Conditions of Sale – Non-Fungible Tokens which are available in Appendix A herein. For the sale of NonFungible Tokens, to the extent there is a conflict between the “New York Conditions of Sale Buying at Christie’s” and “Additional Conditions of Sale – Non-Fungible Tokens”, the latter controls.

Unless we own a lot in authen or in part (Δ symbol), Christie’s acts as agent for the seller.

A BEFORE THE SALE

1 DESCRIPTION OF LOTS

(a)Certain words used in the catalogue description have special meanings. You can find details of these on the page headed “Important Notices and Explanation of Cataloguing Practice” which forms part of these terms. You can find a key to the Symbols found next to certain catalogue entries under the section of the catalogue called “Symbols Used in this Catalogue”.

(b) Our description of any lot in the catalogue, any condition report and any other statement made by us (whether orally or in writing) about any lot, including about its nature or condition, artist, period, materials, approximate dimensions, or provenance are our opinion and not to be relied upon as a statement of fact. We do not carry out in-depth research of the sort carried out by professional historians and scholars. All dimensions and weights are approximate only.

2 OUR RESPONSIBILITY FOR OUR DESCRIPTION OF LOTS

We do not provide any guarantee in relation to the nature of a lot apart from our authenticity warranty contained in paragraph E2 and to the extent provided in paragraph I below.

3 CONDITION

(a)The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage, restoration, repair and wear and tear. Their nature means that they will rarely be in perfect condition Lots are sold “as is,” in the condition they are in at the time of the sale, without any representation or warranty or assumption of liability of any kind as to condition by Christie’s or by the seller.

(b)Any reference to condition in a catalogue entry or in a condition report will not amount to a full description of condition, and images may not show a lot clearly. Colours and shades may look different in print or on screen to how they look on physical inspection. Condition reports may be available to help you evaluate the condition of a lot Condition reports are provided free of charge as a convenience to our buyers and are for guidance only. They offer our opinion but they may not refer to all faults, inherent defects, restoration, alteration or adaptation because our staff are not professional restorers or conservators. For that reason condition reports are not an alternative to examining a lot in person or seeking your own professional advice. It is your responsibility to ensure that you have requested, received and considered any condition report.

4

VIEWING LOTS PRE-AUCTION

(a)If you are planning to bid on a lot you should inspect it personally or through a knowledgeable representative before you make a bid to make sure that you accept the description and its condition. We recommend you get your own advice from a restorer or other professional adviser.

(b)Pre-auction viewings are open to the public free of charge. Our specialists may be available to answer questions at pre-auction viewings or by appointment.

5 ESTIMATES

Estimates are based on the condition, rarity, quality and provenance of the lots and on prices recently paid at auction for similar property. Estimates can change. Neither you, nor anyone else, may rely on any estimates as a prediction or guarantee of the actual selling price of a lot or its value for any other purpose. Estimates do not include the buyer’s premium or any applicable taxes.

6 WITHDRAWAL

Christie’s may, at its option, withdraw any lot from auction at any time prior to or during the sale of the lot. Christie’s has no liability to you for any decision to withdraw.

7 JEWELLERY

(a)Coloured gemstones (such as rubies, sapphires and emeralds) may have been treated to improve their look, through methods such as heating and oiling. These methods are accepted by the international jewellery trade but may make the gemstone less strong and/or require special care over time.

(b)All types of gemstones may have been improved by some method. You may request a gemmological report for any item which does not have a report if the request is made to us at least three weeks before the date of the auction and you pay the fee for the report.

(c)We do not obtain a gemmological report for every gemstone sold in our auctions. Where we do get gemmological reports from internationally accepted gemmological laboratories, such reports will be described in the catalogue. Reports from American gemmological laboratories will describe any improvement or treatment to the gemstone. Reports from European gemmological laboratories will describe any improvement or treatment only if we request that they do so, but will confirm when no improvement or treatment has been made. Because of differences in approach and technology, laboratories may not agree whether a particular gemstone has been treated, the amount of treatment, or whether treatment is permanent. The gemmological laboratories will only report on the improvements or treatments known to the laboratories at the date of the report.

(d)For jewellery sales, estimates are based on the information in any gemmological report. If no report is available, assume that the gemstones may have been treated or enhanced.

8 WATCHES & CLOCKS

(a)Almost all clocks and watches are repaired in their lifetime and may include parts which are not original. We do not give a warranty that any individual component part of any watch is authentic Watchbands described as “associated” are not part of the original watch and may not be authentic. Clocks may be sold without pendulums, weights or keys.

(b)As collectors’ watches often have very fine and complex mechanisms, you are responsible for any general service, change of battery, or further repair work that may be necessary. We do not give a warranty that any watch is in good working order. Certificates are not available unless described in the catalogue.

(c)Most wristwatches have been opened to find out the type and quality of movement. For that reason, wristwatches with water resistant cases may not be waterproof and we recommend you have them checked by a competent watchmaker before use. Important information about the sale, transport and shipping of watches and watchbands can be found in paragraph H2(f).

B REGISTERING TO BID

1 NEW BIDDERS

(a)If this is your first time bidding at Christie’s or you are a returning bidder who has not bought anything from any of our salerooms within the last two years you must register at least 48 hours before an auction begins to give us enough time to process and approve your registration. We may, at our option, decline to permit you to register as a bidder. You will be asked for the following:

(i)for individuals: Photo identification (driver’s licence, national identity card, or passport) and, if not shown on the ID document, proof of your current address (for example, a current utility bill or bank statement);

(ii)for corporate clients: Your Certificate of Incorporation or equivalent document(s) showing your name and registered address together with documentary proof of directors and beneficial owners; and

(iii)for trusts, partnerships, offshore companies and other business structures, please contact us in advance to discuss our requirements.

(b)We may also ask you to give us a financial reference and/or a deposit as a condition of allowing you to bid. For help, please contact our Client Services Department at +1 212-636-2000.

2 RETURNING BIDDERS

As described in paragraph B(1) above, we may at our option ask you for current identification, a financial reference, or a deposit as a condition of allowing you to bid. If you have not bought anything from any of our salerooms within the last two years or if you want to spend more than on previous occasions, please contact our Client Services Department at +1 212-636-2000.

3 IF YOU FAIL TO PROVIDE THE RIGHT DOCUMENTS

If in our opinion you do not satisfy our bidder identification and registration procedures including, but not limited to completing any anti-money laundering and/or anti-terrorism financing checks we may require to our satisfaction, we may refuse to register you to bid, and if you make a successful bid, we may cancel the contract for sale between you and the seller.

4 BIDDING ON BEHALF OF ANOTHER PERSON

If you are bidding on behalf of another person, that person will need to complete the registration requirements above before you can bid, and supply a signed letter authorising you to bid for him/her. A bidder accepts personal liability to pay the purchase price and all other sums due unless

it has been agreed in writing with Christie’s, before commencement of the auction, that the bidder is acting as an agent on behalf of a named third party acceptable to Christie’s and that Christie’s will only seek payment from the named third party.

5 BIDDING IN PERSON

If you wish to bid in the saleroom you must register for a numbered bidding paddle at least 30 minutes before the auction. You may register online at www.christies.com or in person. For help, please contact the Client Service Department on +1 212-636-2000.

6 BIDDING SERVICES

The bidding services described below are a free service offered as a convenience to our clients and Christie’s is not responsible for any error (human or otherwise), omission, or breakdown in providing these services.

(a)Phone Bids

Your request for this service must be made no later than 24 hours prior to the auction. We will accept bids by telephone for lots only if our staff are available to take the bids. If you need to bid in a language other than in English, you must arrange this well before the auction. We may record telephone bids. By bidding on the telephone, you are agreeing to us recording your conversations. You also agree that your telephone bids are governed by these Conditions of Sale.

(b)Internet Bids on Christie’s LIVE™

For certain auctions we will accept bids over the Internet. For more information, please visit https://www.christies.com/buying-services/ buying-guide/register-and-bid/. As well as these Conditions of Sale, internet bids are governed by the Christie’s LIVE™ Terms of Use which are available at https://www.christies.com/LiveBidding/ OnlineTermsOfUse.aspx

(c)Written Bids

You can find a Written Bid Form at any Christie’s office, or by choosing the sale and viewing the lots online at www.christies.com. We must receive your completed Written Bid at least 24 hours before the auction. Bids must be placed in the currency of the saleroom. The auctioneer will take reasonable steps to carry out written bids at the lowest possible price, taking into account the reserve. If you make a written bid on a lot which does not have a reserve and there is no higher bid than yours, we will bid on your behalf at around 50% of the low estimate or, if lower, the amount of your bid. If we receive written bids on a lot for identical amounts, and at the auction these are the highest bids on the lot, we will sell the lot to the bidder whose written bid we received first.

C CONDUCTING THE SALE

1 WHO CAN ENTER THE AUCTION

We may, at our option, refuse admission to our premises or decline to permit participation in any auction or to reject any bid.

2 RESERVES

Unless otherwise indicated, all lots are subject to a reserve. We identify lots that are offered without a reserve with the symbol • next to the lot number. The reserve cannot be more than the lot’s low estimate unless the lot is subject to a third party guarantee and the irrevocable bid exceeds the printed low estimate

In that case, the reserve will be set at the amount of the irrevocable bid.  Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol °◆

3 AUCTIONEER’S DISCRETION

The auctioneer can at his or her sole option:

(a)refuse any bid;

(b)move the bidding backwards or forwards in any way he or she may decide, or change the order of the lots;

(c)withdraw any lot;

(d)divide any lot or combine any two or more lots;

(e)reopen or continue the bidding even after the hammer has fallen; and

(f)in the case of error or dispute related to bidding and whether during or after the auction, continue the bidding, determine the successful bidder, cancel the sale of the lot, or reoffer and resell any lot. If you believe that the auctioneer has accepted the successful bid in error, you must provide a written notice detailing your claim within 3 business days of the date of the auction. The auctioneer will consider such claim in good faith. If the auctioneer, in the exercise of his or her discretion under this paragraph, decides after the auction is complete, to cancel the sale of a lot, or reoffer and resell a lot, he or she will notify the successful bidder no later than by the end of the 7th calendar day following the date of the auction. The auctioneer’s decision in exercise of this discretion is final. This paragraph does not in any way prejudice Christie’s ability to cancel the sale of a lot under any other applicable provision of these Conditions of Sale, including the rights of cancellation set forth in sections B(3), E(2)(i), F(4), and J(1).

4 BIDDING

The auctioneer accepts bids from:

(a)bidders in the saleroom;

(b)telephone bidders;

(c)internet bidders through Christie’s LIVE™ (as shown above in paragraph B6); and

(d)written bids (also known as absentee bids or commission bids) left with us by a bidder before the auction.

5 BIDDING ON BEHALF OF THE SELLER

The auctioneer may, at his or her sole option, bid on behalf of the seller up to but not including the amount of the reserve either by making consecutive bids or by making bids in response to other bidders. The auctioneer will not identify these as bids made on behalf of the seller and will not make any bid on behalf of the seller at or above the reserve If lots are offered without reserve the auctioneer will generally decide to open the bidding at 50% of the low estimate for the lot If no bid is made at that level, the auctioneer may decide to go backwards at his or her sole option until a bid is made, and then continue up from that amount. In the event that there are no bids on a lot, the auctioneer may deem such lot unsold.

6 BID INCREMENTS

Bidding generally starts below the low estimate and increases in steps (bid increments). The auctioneer will decide at his or her sole option where the bidding should start and the bid increments.

7 CURRENCY CONVERTER

The saleroom video screens (and Christies LIVE™) may show bids in some other major currencies as well as US dollars. Any conversion is for guidance only and we cannot be bound by any rate of exchange used. Christie’s is not responsible for any error (human or otherwise), omission or breakdown in providing these services.

8 SUCCESSFUL BIDS

Unless the auctioneer decides to use his or her discretion as set out in paragraph C3 above, when the auctioneer’s hammer strikes, we have accepted the last bid. This means a contract for sale has been formed between the seller and the successful bidder. We will issue an invoice only to the registered bidder who made the successful bid. While we send out invoices by mail and/or email after the auction, we do not accept responsibility for telling you whether or not your bid was successful. If you have bid by written bid, you should contact us by telephone or in person as soon as possible after the auction to get details of the outcome of your bid to avoid having to pay unnecessary storage charges.

9 LOCAL BIDDING LAWS

You agree that when bidding in any of our sales that you will strictly comply with all local laws and regulations in force at the time of the sale for the relevant sale site.

D THE BUYER’S PREMIUM AND TAXES

1 THE BUYER’S PREMIUM

In addition to the hammer price the successful bidder agrees to pay us a buyer’s premium on the hammer price of each lot sold. On all lots we charge 26% of the hammer price up to and including US$1,000,000, 21% on that part of the hammer price over US$1,000,000 and up to and including US$6,000,000, and 15% of that part of the hammer price above US$6,000,000.

2 TAXES

The successful bidder is responsible for any applicable taxes including any sales or use tax or equivalent tax wherever such taxes may arise on the hammer price, the buyer’s premium, and/or any other charges related to the lot

For lots Christie’s ships to or within the United States, a sales or use tax may be due on the hammer price buyer’s premium, and/or any other charges related to the lot, regardless of the nationality or citizenship of the successful bidder. Christie’s will collect sales tax where legally required. The applicable sales tax rate will be determined based upon the state, county, or locale to which the lot will be shipped. Christie’s shall collect New York sales tax at a rate of 8.875% for any lot collected from Christie’s in New York.

In accordance with New York law, if Christie’s arranges the shipment of a lot out of New York State, New York sales tax does not apply, although sales tax or other applicable taxes for other states may apply. If you hire a shipper (other than a common carrier authorized by Christie’s), to collect the lot from a Christie’s New York location, Christie’s must collect New York sales tax on the lot at a rate of 8.875% regardless of the ultimate destination of the lot

If Christie’s delivers the lot to, or the lot is collected by, any framer, restorer or other similar service provider in New York that you have hired, New York law considers the lot delivered to the successful bidder in New York and New York sales tax must be imposed regardless of the ultimate destination of the lot. In this circumstance, New York sales tax will apply to the lot even if Christie’s or a common carrier (authorized by Christie’s that you hire) subsequently delivers the lot outside New York.

Successful bidders claiming an exemption from sales tax must provide appropriate documentation to Christie’s prior to the release of the lot or within 90 days after the sale, whichever is earlier. For shipments to those states for which Christie’s is not required to collect sales tax, a successful bidder may have a use or similar tax obligation. It is the successful bidder’s responsibility to pay all taxes due. Christie’s recommends you consult your own independent tax advisor with any questions.

E WARRANTIES

1 SELLER’S WARRANTIES

For each lot, the seller gives a warranty that the seller:

(a)is the owner of the lot or a joint owner of the lot acting with the permission of the other co-owners or, if the seller is not the owner or a joint owner of the lot has the permission of the owner to sell the lot or the right to do so in law; and

(b)has the right to transfer ownership of the lot to the buyer without any restrictions or claims by anyone else.

(c)If either of the above warranties are incorrect, the seller shall not have to pay more than the purchase price (as defined in paragraph F1(a) below) paid by you to us. The seller will not be responsible to you for any reason for loss of profits or business, expected savings, loss of opportunity or interest, costs, damages, other damages or expenses. The seller gives no warranty in relation to any lot other than as set out above and, as far as the seller is allowed by law, all warranties from the seller to you, and all other obligations upon the seller which may be added to this agreement by law, are excluded.

2 OUR AUTHENTICITY WARRANTY

We warrant, subject to the terms below, that the lots in our sales are authentic (our “authenticity warranty”). If, within 5 years of the date of the auction, you give notice to us that your lot is not authentic subject to the terms below, we will refund the purchase price paid by you. The meaning of authentic can be found in the glossary at the end of these Conditions of Sale. The terms of the authenticity warranty are as follows:

(a)It will be honored for claims notified within a period of 5 years from the date of the auction. After such time, we will not be obligated to honor the authenticity warranty

(b)It is given only for information shown in UPPERCASE type in the first line of the catalogue description (the Heading”). It does not apply to any information other than in the Heading even if shown in UPPERCASE type

(c)The authenticity warranty does not apply to any Heading or part of a Heading which is qualified Qualified means limited by a clarification in a lot’s catalogue description or by the use in a Heading of one of the terms listed in the section titled Qualified Headings on the page of the catalogue headed “Important Notices and Explanation of Cataloguing Practice”. For example, use of the term “ATTRIBUTED TO…” in a Heading means that the lot is in Christie’s opinion probably a work by the named artist but no warranty is provided that the lot is the work of the named artist. Please read the full list of Qualified Headings and a lot’s full catalogue description before bidding.

(d)The authenticity warranty applies to the Heading as amended by any Saleroom notice.

(e)The authenticity warranty does not apply where scholarship has developed since the auction leading to a change in generally accepted opinion. Further, it does not apply if the Heading either matched the generally accepted opinion of experts at the date of the auction or drew attention to any conflict of opinion.

(f)The authenticity warranty does not apply if the lot can only be shown not to be authentic by a scientific process which, on the date we published the catalogue, was not available or generally accepted for use, or which was unreasonably expensive or impractical, or which was likely to have damaged the lot

(g)The benefit of the authenticity warranty is only available to the original buyer shown on the invoice for the lot issued at the time of the sale and only if on the date of the notice of claim, the original buyer is the full owner of the lot and the lot is free from any claim, interest or restriction by anyone else. The benefit of this authenticity warranty may not be transferred to anyone else.

(h)In order to claim under the authenticity warranty you must:

(i)give us written notice of your claim within 5 years of the date of the auction. We may require full details and supporting evidence of any such claim;

(ii)at Christie’s option, we may require you to provide the written opinions of two recognised experts in the field of the lot mutually agreed by you and us in advance confirming that the lot is not authentic If we have any doubts, we reserve the right to obtain additional opinions at our expense; and

(iii)return the lot at your expense to the saleroom from which you bought it in the condition it was in at the time of sale.

(i)Your only right under this authenticity warranty is to cancel the sale and receive a refund of the purchase price paid by you to us. We will not, under any circumstances, be required to pay you more than the purchase price nor will we be liable for any loss of profits or business, loss of opportunity or value, expected savings or interest, costs, damages, other damages or expenses.

(j) Books. Where the lot is a book, we give an additional warranty for 21 days from the date of the auction that if any lot is defective in text or illustration, we will refund your purchase price subject to the following terms:

(a)This additional warranty does not apply to:

(i)the absence of blanks, half titles, tissue guards or advertisements, damage in respect of bindings, stains, spotting, marginal tears or other defects not affecting completeness of the text or illustration;

(ii)drawings, autographs, letters or manuscripts, signed photographs, music, atlases, maps or periodicals;

(iii)books not identified by title;

(iv) lots sold without a printed estimate;

(v)books which are described in the catalogue as sold not subject to return; or

(vi)defects stated in any condition report or announced at the time of sale.

(b)To make a claim under this paragraph you must give written details of the defect and return the lot to the sale room at which you bought it in the same condition as at the time of sale, within 21 days of the date of the sale.

(k) South East Asian Modern and Contemporary Art and Chinese Calligraphy and Painting. In these categories, the authenticity warranty does not apply because current scholarship does not permit the making of definitive statements. Christie’s does, however, agree to cancel a sale in either of these two categories of art where it has been proven the lot is a forgery. Christie’s will refund to the original buyer the purchase price in accordance with the terms of Christie’s Authenticity warranty provided that the original buyer notifies us with full supporting evidence documenting the forgery claim within twelve (12) months of the date of the auction. Such evidence must be satisfactory to us that the property is a forgery in accordance with paragraph E2(h)(ii) above and the property must be returned to us in accordance with E2h(iii) above. Paragraphs E2(b), (c), (d), (e), (f) and (g) and (i) also apply to a claim under these categories.

(l) Chinese, Japanese and Korean artefacts (excluding Chinese, Japanese and Korean calligraphy, paintings, prints, drawings and jewellery).

In these categories, paragraph E2 (b) – (e) above shall be amended so that where no maker or artist is identified, the authenticity warranty is given not only for the Heading but also for information regarding date or period shown in UPPERCASE type in the second line of the catalogue description (the “Subheading”). Accordingly, all references to the Heading in paragraph E2 (b) – (e) above shall be read as references to both the Heading and the Subheading.

3 NO IMPLIED WARRANTIES EXCEPT AS SET FORTH IN PARAGRAPHS E1 AND E2 ABOVE, NEITHER THE SELLER NOR THE CHRISTIE’S GROUP MAKE ANY OTHER WARRANTY, EXPRESS OR IMPLIED, ORAL OR WRITTEN, WITH RESPECT TO THE LOT, INCLUDING THE IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE, EACH OF WHICH IS SPECIFICALLY DISCLAIMED.

4 YOUR WARRANTIES

(a)You warrant that the funds used for settlement are not connected with any criminal activity, including tax evasion, and you are neither under investigation, nor have you been charged with or convicted of money laundering, terrorist activities or other crimes.

(b)Where you are bidding on behalf of another person, you warrant that:

(i)you have conducted appropriate customer due diligence on the ultimate buyer(s) of the lot(s) in accordance with all applicable anti-money laundering and sanctions laws, consent to us relying on this due diligence, and you will retain for a period of not less than 5 years the documentation evidencing the due diligence. You will make such documentation promptly available for immediate inspection by an independent thirdparty auditor upon our written request to do so;

(ii)the arrangements between you and the ultimate buyer(s) in relation to the lot or otherwise do not, in whole or in part, facilitate tax crimes;

(iii)you do not know, and have no reason to suspect, that the funds used for settlement are connected with, the proceeds of any criminal activity, including tax evasion, or that the ultimate buyer(s) are under investigation, or have been charged with or convicted of money laundering, terrorist activities or other crimes.

F PAYMENT

1 HOW TO PAY

(a)Immediately following the auction, you must pay the purchase price being:

(i)the hammer price; and

(ii)the buyer’s premium; and

(iii)any applicable duties, goods, sales, use, compensating or service tax, or VAT.

Payment is due no later than by the end of the 7th calendar day following the date of the auction (the “due date”).

(b)We will only accept payment from the registered bidder. Once issued, we cannot change the buyer’s name on an invoice or re-issue the invoice in a different

name. You must pay immediately even if you want to export the lot and you need an export licence.

(c)You must pay for lots bought at Christie’s in the United States in the currency stated on the invoice in one of the following ways:

(i) Wire transfer JP Morgan Chase Bank, N.A., 270 Park Avenue, New York, NY 10017; ABA# 021000021; FBO: Christie’s Inc.; Account # 957-107978, for international transfers, SWIFT: CHASUS33.

(ii) Credit Card

We accept Visa, MasterCard, American Express and China Union Pay. Credit card payments at the New York premises will only be accepted for New York sales. Christie’s will not accept credit card payments for purchases in any other sale site.

(iii) Cash

We accept cash payments (including money orders and traveller’s checks) subject to a maximum global aggregate of US$7,500 per buyer.

(iv) Bank Checks

You must make these payable to Christie’s Inc. and there may be conditions. Once we have deposited your check, property cannot be released until five business days have passed.

(v) Checks

You must make checks payable to Christie’s Inc. and they must be drawn from US dollar accounts from a US bank.

(d)You must quote the sale number, your invoice number and client number when making a payment. All payments sent by post must be sent to: Christie’s Inc. Post-Sale Services, 20 Rockefeller Center, New York, NY 10020.

(e)For more information please contact our Post-Sale Services by phone at +1 212 636 2650 or fax at +1 212 636 4939 or email PostSaleUS@christies.com.

(f)Cryptocurrency (if applicable): You may either pay for a lot in the currency of the sale or by a cryptocurrency permitted by us. The invoice will set forth the purchase price in the currency of the sale and where permitted by us, a specified cryptocurrency. Partial payment in cryptocurrency is not permitted. Where the purchase price is payable in a specified cryptocurrency, the invoice will include both the amount due in the currency of the sale as well as a cryptocurrency amount. The cryptocurrency amount will be calculated by us based on the most recent published CME CF Ether-Dollar Reference Rate (BRR and ETHUSD_RR) index rate as determined by us, and will be disclosed in the invoice. The amount of cryptocurrency specified in the invoice is the amount of cryptocurrency that must be paid to us if that is the payment option you select regardless of whether the conversion rate at the time of auction or when you pay the invoice or at any other time is different. In the event that we are required to return any amounts to you hereunder, you agree to receive such amounts in the fiat amount of the saleroom

2 TRANSFERRING OWNERSHIP TO YOU

You will not own the lot and ownership of the lot will not pass to you until we have received full and clear payment of the purchase price, even in circumstances where we have released the lot to you.

3 TRANSFERRING

RISK TO YOU

The risk in and responsibility for the lot will transfer to you from whichever is the earlier of the following:

(a)When you collect the lot; or

(b)At the end of the 30th day following the date of the auction or, if earlier, the date the lot is taken into care by a third party warehouse as set out on the page headed ‘Storage and Collection’, unless we have agreed otherwise with you.

4 WHAT HAPPENS IF YOU DO NOT PAY

(a)If you fail to pay us the purchase price in full by the due date, we will be entitled to do one or more of the following (as well as enforce our rights under paragraph F5 and any other rights or remedies we have by law):

(i)we can charge interest from the due date at a rate of up to 1.34% per month on the unpaid amount due;

(ii)we can cancel the sale of the lot. If we do this, we may sell the lot again, publically or privately on such terms we shall think necessary or appropriate, in which case you must pay us any shortfall between the purchase price and the proceeds from the resale. You must also pay all costs, expenses, losses, damages and legal fees we have to pay or may suffer and any shortfall in the seller’s commission on the resale;

(iii)we can pay the seller an amount up to the net proceeds payable in respect of the amount bid by your default in which case you acknowledge and understand that Christie’s will have all of the rights of the seller to pursue you for such amounts;

(iv)we can hold you legally responsible for the purchase price and may begin legal proceedings to recover it together with other losses, interest, legal fees and costs as far as we are allowed by law;

(v)we can take what you owe us from any amounts which we or any company in the Christie’s Group

may owe you (including any deposit or other partpayment which you have paid to us);

(vi)we can, at our option, reveal your identity and contact details to the seller;

(vii)we can reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids;

(viii)we can exercise all the rights and remedies of a person holding security over any property in our possession owned by you, whether by way of pledge, security interest or in any other way as permitted by the law of the place where such property is located. You will be deemed to have granted such security to us and we may retain such property as collateral security for your obligations to us; and

(ix)we can take any other action we see necessary or appropriate.

(b)If you owe money to us or to another Christie’s Group company, we can use any amount you do pay, including any deposit or other part-payment you have made to us, or which we owe you, to pay off any amount you owe to us or another Christie’s Group company for any transaction.

5 KEEPING YOUR PROPERTY

If you owe money to us or to another Christie’s Group company, as well as the rights set out in F4 above, we can use or deal with any of your property we hold or which is held by another Christie’s Group company in any way we are allowed to by law. We will only release your property to you after you pay us or the relevant Christie’s Group company in full for what you owe. However, if we choose, we can also sell your property in any way we think appropriate. We will use the proceeds of the sale against any amounts you owe us and we will pay any amount left from that sale to you. If there is a shortfall, you must pay us any difference between the amount we have received from the sale and the amount you owe us.

G COLLECTION AND STORAGE

(a)You must collect purchased lots within seven days from the auction (but note that lots will not be released to you until you have made full and clear payment of all amounts due to us).

(b)Information on collecting lots is set out on the storage and collection page and on an information sheet which you can get from the bidder registration staff or Christie’s Post-Sale Services Department on +1 212 636 2650.

(c)If you do not collect any lot within thirty days following the auction we may, at our option

(i)charge you storage costs at the rates set out at www.christies.com/storage

(ii)move the lot to another Christie’s location or an affiliate or third party warehouse and charge you transport costs and administration fees for doing so and you will be subject to the third party storage warehouse’s standard terms and to pay for their standard fees and costs.

(iii)sell the lot in any commercially reasonable way we think appropriate.

(d)The Storage conditions which can be found at www. christies.com/storage will apply.

(e)In accordance with New York law, if you have paid for the lot in full but you do not collect the lot within 180 calendar days of payment, we may charge you New York sales tax for the lot

(f)Nothing in this paragraph is intended to limit our rights under paragraph F4.

H TRANSPORT AND SHIPPING

1 SHIPPING

We would be happy to assist in making shipping arrangements on request. You must make all transport and shipping arrangements. However, we can arrange to pack, transport, and ship your property if you ask us to and pay the costs of doing so. We recommend that you ask us for an estimate, especially for any large items or items of high value that need professional packing. We may also suggest other handlers, packers, transporters, or experts if you ask us to do so. For more information, please contact Christie’s Post-Sale Services at +1 212 636 2650. See the information set out at https://www.christies. com/buying-services/buying-guide/ship/ or contact us at PostSaleUS@christies.com. We will take reasonable care when we are handling, packing, transporting, and shipping. However, if we recommend another company for any of these purposes, we are not responsible for their acts, failure to act, or neglect.

2

EXPORT AND IMPORT

Any lot sold at auction may be affected by laws on exports from the country in which it is sold and the import restrictions of other countries. Many countries require a declaration of export for property leaving the country and/or an import declaration on entry of property into the country. Local laws may prevent you from importing a lot or may prevent you selling a lot in the country you import it into.

(a)You alone are responsible for getting advice about and meeting the requirements of any laws or regulations which apply to exporting or importing any lot prior to bidding. If you are refused a licence or there is a delay in getting one, you must still pay us in full for the lot We may be able to help you apply for the appropriate licences if you ask us to and pay our fee for doing so. However, we cannot guarantee that you will get one. For more information, please contact Christie’s PostSale Services Department at +1 212 636 2650 and

PostSaleUS@christies.com.

See the information set out at https://www. christies.com/buying-services/buying-guide/ ship/ or contact us at PostSaleUS@christies.com.

(b)You alone are responsible for any applicable taxes, tariffs or other government-imposed charges relating to the export or import of the lot. If Christie’s exports or imports the lot on your behalf, and if Christie’s pays these applicable taxes, tariffs or other governmentimposed charges, you agree to refund that amount to Christie’s.

(c) Endangered and protected species

Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife are marked with the symbol ~ in the catalogue. This material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone certain species of coral, and Brazilian rosewood. You should check the relevant customs laws and regulations before bidding on any lot containing wildlife material if you plan to import the lot into another country. Several countries refuse to allow you to import property containing these materials, and some other countries require a licence from the relevant regulatory agencies in the countries of exportation as well as importation. In some cases, the lot can only be shipped with an independent scientific confirmation of species and/or age, and you will need to obtain these at your own cost.

(d) Lots containing Ivory or materials resembling ivory

If a lot contains elephant ivory, or any other wildlife material that could be confused with elephant ivory (for example, mammoth ivory, walrus ivory, helmeted hornbill ivory) you may be prevented from exporting the lot from the US or shipping it between US States without first confirming its species by way of a rigorous scientific test acceptable to the applicable Fish and Wildlife authorities. You will buy that lot at your own risk and be responsible for any scientific test or other reports required for export from the USA or between US States at your own cost. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or shipped between US States, or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to interstate shipping, export or import of property containing such protected or regulated material.

(e) Lots of Iranian origin

Some countries prohibit or restrict the purchase, export and/or import of Iranian-origin “works of conventional craftsmanship” (works that are not by a recognized artist and/or that have a function, (for example: carpets, bowls, ewers, tiles, ornamental boxes). For example, the USA prohibits the import and export of this type of property without a license issued by the US Department of the Treasury, Office of Foreign Assets Control. Other countries, such as Canada, only permit the import of this property in certain circumstances. As a convenience to buyers, Christie’s indicates under the title of a lot if the lot originates from Iran (Persia). It is your responsibility to ensure you do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to you.

(f) Gold

Gold of less than 18ct does not qualify in all countries as ‘gold’ and may be refused import into those countries as ‘gold’.

(g) Watches

Many of the watches offered for sale in this catalogue are pictured with straps made of endangered or protected animal materials such as alligator or crocodile. These lots are marked with the symbol Ψ in the catalogue. These endangered species straps are shown for display purposes only and are not for sale. Christie’s will remove and retain the strap prior to shipment from the sale site. At some sale sites, Christie’s may, at its discretion, make the displayed endangered species strap available to the buyer of the lot free of charge if collected in person from the sale site within 1 year of the date of the auction. Please check with the department for details on a particular lot

For all symbols and other markings referred to in paragraph H2, please note that lots are marked as a convenience to you, but we do not accept liability for errors or for failing to mark lots

I OUR LIABILITY TO YOU

(a)We give no warranty in relation to any statement made, or information given, by us or our representatives or employees, about any lot other than as set out in the authenticity warranty and, as far as we are allowed by law, all warranties and other terms which may be added to this agreement by law are excluded. The seller’s warranties contained in paragraph E1 are their own and we do not have any liability to you in relation to those warranties.

(b)(i) We are not responsible to you for any reason (whether for breaking this agreement or any other matter relating to your purchase of, or bid for, any lot) other than in the event of fraud or fraudulent misrepresentation by us or other than as expressly set out in these conditions of sale; and (ii) we do not give any representation, warranty or guarantee or

assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition attribution, authenticity, rarity, importance, medium, provenance exhibition history, literature, or historical relevance. Except as required by local law, any warranty of any kind is excluded by this paragraph.

(c)In particular, please be aware that our written and telephone bidding services, Christie’s LIVE™, condition reports, currency converter and saleroom video screens are free services and we are not responsible to you for any error (human or otherwise), omission or breakdown in these services.

(d)We have no responsibility to any person other than a buyer in connection with the purchase of any lot

(e)If, in spite of the terms in paragraphs I(a) to (d) or E2(i) above, we are found to be liable to you for any reason, we shall not have to pay more than the purchase price paid by you to us. We will not be responsible to you for any reason for loss of profits or business, loss of opportunity or value, expected savings or interest, costs, other damages, or expenses.

J OTHER TERMS

1 OUR ABILITY TO CANCEL

In addition to the other rights of cancellation contained in this agreement, we can cancel a sale of a lot if : (i) any of your warranties in paragraph E4 are not correct; (ii) we reasonably believe that completing the transaction is, or may be, unlawful; or (iii) we reasonably believe that the sale places us or the seller under any liability to anyone else or may damage our reputation.

2 RECORDINGS

We may videotape and record proceedings at any auction. We will keep any personal information confidential, except to the extent disclosure is required by law. However, we may, through this process, use or share these recordings with another Christie’s Group company and marketing partners to analyse our customers and to help us to tailor our services for buyers. If you do not want to be videotaped, you may make arrangements to make a telephone or written bid or bid on Christie’s LIVE™ instead. Unless we agree otherwise in writing, you may not videotape or record proceedings at any auction.

3 COPYRIGHT

We own the copyright in all images, illustrations and written material produced by or for us relating to a lot (including the contents of our catalogues unless otherwise noted in the catalogue). You cannot use them without our prior written permission. We do not offer any guarantee that you will gain any copyright or other reproduction rights to the lot

4 ENFORCING THIS AGREEMENT

If a court finds that any part of this agreement is not valid or is illegal or impossible to enforce, that part of the agreement will be treated as being deleted and the rest of this agreement will not be affected.

5 TRANSFERRING YOUR RIGHTS AND RESPONSIBILITIES

You may not grant a security over or transfer your rights or responsibilities under these terms on the contract of sale with the buyer unless we have given our written permission. This agreement will be binding on your successors or estate and anyone who takes over your rights and responsibilities.

6 TRANSLATIONS

If we have provided a translation of this agreement, we will use this original version in deciding any issues or disputes which arise under this agreement.

7 PERSONAL INFORMATION

We will hold and process your personal information and may pass it to another Christie’s Group company for use as described in, and in line with, our privacy notice at www.christies.com/about-us/contact/privacy and if you are a resident of California you can see a copy of our California Consumer Privacy Act statement at https:// www.christies.com/about-us/contact/ccpa

8 WAIVER

No failure or delay to exercise any right or remedy provided under these Conditions of Sale shall constitute a waiver of that or any other right or remedy, nor shall it prevent or restrict the further exercise of that or any other right or remedy. No single or partial exercise of such right or remedy shall prevent or restrict the further exercise of that or any other right or remedy.

9 LAW AND DISPUTES

This agreement, and any non-contractual obligations arising out of or in connection with this agreement, or any other rights you may have relating to the purchase of a lot (the “Dispute”) will be governed by the laws of New York. Before we or you start any court proceedings (except in the limited circumstances where the dispute, controversy or claim is related to proceedings brought by someone else and this dispute could be joined to those proceedings), we agree we will each try to settle the Dispute by mediation submitted to JAMS, or its successor, for mediation in New York. If the Dispute is not settled by mediation within 60 days from the date when mediation is initiated, then the Dispute shall be submitted to JAMS, or its successor, for final and binding arbitration in accordance with its Comprehensive Arbitration Rules

and Procedures or, if the Dispute involves a non-U.S. party, the JAMS International Arbitration Rules. The seat of the arbitration shall be New York and the arbitration shall be conducted by one arbitrator, who shall be appointed within 30 days after the initiation of the arbitration. The language used in the arbitral proceedings shall be English. The arbitrator shall order the production of documents only upon a showing that such documents are relevant and material to the outcome of the Dispute. The arbitration shall be confidential, except to the extent necessary to enforce a judgment or where disclosure is required by law. The arbitration award shall be final and binding on all parties involved. Judgment upon the award may be entered by any court having jurisdiction thereof or having jurisdiction over the relevant party or its assets. This arbitration and any proceedings conducted hereunder shall be governed by Title 9 (Arbitration) of the United States Code and by the United Nations Convention on the Recognition and Enforcement of Foreign Arbitral Awards of June 10, 1958.

10 REPORTING ON WWW.CHRISTIES.COM

Details of all lots sold by us, including catalogue descriptions and prices, may be reported on www. christies.com. Sales totals are hammer price plus buyer’s premium and do not reflect costs, financing fees, or application of buyer’s or seller’s credits. We regret that we cannot agree to requests to remove these details from www.christies.com

K GLOSSARY auctioneer: the individual auctioneer and/or Christie’s. authentic: a genuine example, rather than a copy or forgery of:

(i) the work of a particular artist, author or manufacturer, if the lot is described in the Heading as the work of that artist, author or manufacturer;

(ii) a work created within a particular period or culture, if the lot is described in the Heading as a work created during that period or culture;

(iii) a work for a particular origin source if the lot is described in the Heading as being of that origin or source; or

(iv) in the case of gems, a work which is made of a particular material, if the lot is described in the Heading as being made of that material. authenticity warranty: the guarantee we give in this agreement that a lot is authentic as set out in paragraph E2 of this agreement.

buyer’s premium: the charge the buyer pays us along with the hammer price catalogue description: the description of a lot in the catalogue for the auction, as amended by any saleroom notice

Christie’s Group: Christie’s International Plc, its subsidiaries and other companies within its corporate group.

condition: the physical condition of a lot due date: has the meaning given to it paragraph F1(a).

estimate: the price range included in the catalogue or any saleroom notice within which we believe a lot may sell.

Low estimate means the lower figure in the range and high estimate means the higher figure. The mid estimate is the midpoint between the two.

hammer price: the amount of the highest bid the auctioneer accepts for the sale of a lot

Heading: has the meaning given to it in paragraph E2. lot: an item to be offered at auction (or two or more items to be offered at auction as a group). other damages: any special, consequential, incidental or indirect damages of any kind or any damages which fall within the meaning of ‘special’, ‘incidental’ or ‘consequential’ under local law.

purchase price: has the meaning given to it in paragraph F1(a).

provenance: the ownership history of a lot qualified: has the meaning given to it in paragraph E2 and Qualified Headings means the paragraph headed Qualified Headings on the page of the catalogue headed ‘Important Notices and Explanation of Cataloguing Practice’. reserve: the confidential amount below which we will not sell a lot saleroom notice: a written notice posted next to the lot in the saleroom and on www.christies.com which is also read to prospective telephone bidders and notified to clients who have left commission bids, or an announcement made by the auctioneer either at the beginning of the sale, or before a particular lot is auctioned.

subheading: has the meaning given to it in paragraph E2. UPPER CASE type: means having all capital letters. warranty: a statement or representation in which the person making it guarantees that the facts set out in it are correct. 11/04/2023

IMPORTANT NOTICES AND EXPLANATION OF CATALOGUING PRACTICE

IMPORTANT

NOTICES

∆ Property in which Christie’s has an ownership or financial interest

From time to time, Christie’s may offer a lot in which Christie’s has an ownership interest or a financial interest. Such property is identified in the catalogue with the symbol ∆ next to its lot number. Where Christie’s has an ownership or financial interest in every lot in the catalogue, Christie’s will not designate each lot with a symbol, but will state its interest in the front of the catalogue.

º Minimum Price Guarantees

On occasion, Christie’s has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. Where Christie’s holds such financial interest we identify such lots with the symbol º next to the lot number.

º

♦ Third Party Guarantees/Irrevocable bids

Where Christie’s has provided a Minimum Price Guarantee, it is at risk of making a loss which can be significant if the lot fails to sell. Christie’s sometimes chooses to share that risk with a third party who agrees prior to the auction to place an irrevocable written bid on the lot. If there are no other higher bids, the third party commits to buy the lot at the level of their irrevocable written bid. In doing so, the third party takes on all or part of the risk of the lot not being sold. Lots which are subject to a third party guarantee arrangement are identified in the catalogue with the symbol º ♦

In most cases, Christie’s compensates the third party in exchange for accepting this risk. Where the third party is the successful bidder, the third party’s remuneration is based on a fixed financing fee. If the third party is not the successful bidder, the remuneration may either be based on a fixed fee or an amount calculated against the final hammer price The third party may continue to bid for the lot above the irrevocable written bid.

Third party guarantors are required by us to disclose to anyone they are advising their financial interest in any lots they are guaranteeing. However, for the avoidance of any doubt, if you are advised by or bidding through an agent on a lot identified as being subject to a third party guarantee you should always ask your agent to confirm whether or not he or she has a financial interest in relation to the lot

¤ Bidding by interested parties

When a party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot, we will mark the lot with this symbol ¤. This interest can include beneficiaries of an estate that consigned the lot or a joint owner of a lot Any interested party that successfully bids on a lot must comply with Christie’s Conditions of Sale, including paying the lot’s full buyer’s premium plus applicable taxes.

Post-catalogue notifications

In certain instances, after the catalogue has been published, Christie’s may enter into an arrangement or become aware of bidding that would have required a catalogue symbol. In those instances, a pre-sale or pre-lot announcement will be made

Other Arrangements

Christie’s may enter into other arrangements not involving bids. These include arrangements where Christie’s has advanced money to consignors or prospective purchasers or where Christie’s has shared the risk of a guarantee with a partner without the partner being required to place an irrevocable written bid or otherwise participating in the bidding on the lot. Because such arrangements are unrelated to the bidding process they are not marked with a symbol in the catalogue.

EXPLANATION OF CATALOGUING PRACTICE

Terms used in a catalogue or lot description have the meanings ascribed to them below. Please note that all statements in a catalogue or lot description as to authorship are made subject to the provisions of the Conditions of Sale, including the authenticity warranty. Our use of these expressions does not take account of the condition of the lot or of the extent of any restoration. Written condition reports are usually available on request.

A term and its definition listed under ‘Qualified Headings’ is a qualified statement as to authorship. While the use of this term is based upon careful study and represents the opinion of specialists, Christie’s and the consignor assume no risk, liability and responsibility for the authenticity of authorship of any lot in this catalogue described by this term, and the authenticity warranty shall not be available with respect to lots described using this term.

PICTURES, DRAWINGS, PRINTS AND MINIATURES

Name(s) or Recognised Designation of an artist without any qualification: in Christie’s opinion a work by the artist.

QUALIFIED HEADINGS

“Attributed to …”: in Christie’s qualified opinion probably a work by the artist in whole or in part.

“Studio of …”/“Workshop of …”: in Christie’s qualified opinion a work executed in the studio or workshop of the artist, possibly under his supervision.

“Circle of …”: in Christie’s qualified opinion a work of the period of the artist and showing his influence.

“Follower of… ”: in Christie’s qualified opinion a work executed in the artist’s style but not necessarily by a pupil.

“Manner of… ”: in Christie’s qualified opinion a work executed in the artist’s style but of a later date.

“After …”: in Christie’s qualified opinion a copy (of any date) of a work of the artist.

“Signed …”/“Dated …”/ “Inscribed …”: in Christie’s qualified opinion the work has been signed/dated/inscribed by the artist.

“With signature …”/“With date …”/ “With inscription …”: in Christie’s qualified opinion the signature/ date/inscription appears to be by a hand other than that of the artist.

The date given for Old Master, Modern and Contemporary Prints is the date (or approximate date when prefixed with ‘circa’) on which the matrix was worked and not necessarily the date when the impression was printed or published.

CHINESE CERAMICS AND WORKS OF ART

When a piece is, in Christie’s opinion, of a certain period, reign or dynasty, its attribution appears in uppercase letters directly below the Heading of the description of the lot

e.g. A BLUE AND WHITE BOWL 18TH CENTURY

If the date, period or reign mark mentioned in uppercase letters after the bold type first line states that the mark is of the period, then in Christie’s opinion, the piece is of the date, period or reign of the mark.

e.g. A BLUE AND WHITE BOWL KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND OF THE PERIOD (1662-1722)

If no date, period or reign mark is mentioned in uppercase letters after the bold description, in Christie’s opinion it is of uncertain date or late manufacture.

e.g. A BLUE AND WHITE BOWL QUALIFIED HEADINGS

When a piece is, in Christie’s opinion, not of the period to which it would normally be attributed on stylistic grounds, this will be incorporated into the first line or the body of the text of the description.

e.g. A BLUE AND WHITE MING-STYLE BOWL; or The Ming-style bowl is decorated with lotus scrolls…

In Christie’s qualified opinion this object most probably dates from Kangxi period but there remains the possibility that it may be dated differently.

e.g. KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND PROBABLY OF THE PERIOD

In Christie’s qualified opinion, this object could be dated to the Kangxi period but there is a strong element of doubt.

e.g. KANGXI SIX-CHARACTER MARK IN UNDERGLAZE BLUE AND POSSIBLY OF THE PERIOD FABERGÉ

QUALIFIED HEADINGS

“Marked Fabergé, Workmaster …”: in Christie’s qualified opinion a work of the master’s workshop inscribed with his name or initials and his workmaster’s initials.

“By Fabergé …”: in Christie’s qualified opinion, a work of the master’s workshop, but without his mark.

“In the style of …”: in Christie’s qualified opinion a work of the period of the master and closely related to his style.

“Bearing marks …”: in Christie’s qualified opinion not a work of the master’s workshop and bearing later marks.

JEWELLERY

“Boucheron”: when maker’s name appears in the title, in Christie’s opinion it is by that maker.

“Mount by Boucheron”: in Christie’s opinion the setting has been created by the jeweller using stones originally supplied by the jeweller’s client.

QUALIFIED HEADINGS

“Signed Boucheron / Signature Boucheron”: in Christie’s qualified opinion has a signature by the jeweller.

“With maker’s mark for Boucheron”: in Christie’s qualified opinion has a mark denoting the maker.

Periods

Art Nouveau 1895-1910

Belle Epoque 1895-1914

Art Deco 1915-1935

Retro 1940s

HANDBAGS

Condition Reports

The condition of lots sold in our auctions can vary widely due to factors such as age, previous damage, restoration, repair and wear and tear. Condition reports and grades are provided free of charge as a courtesy and convenience to our buyers and are for guidance only. They offer our honest opinion but they may not refer to all faults, restoration, alteration or adaptation. They are not an alternative to examining a lot in person or taking your own professional advice.

Lots are sold “as is,” in the condition they are in at the time of the sale, without any representation or warranty as to condition by Christie’s or by the seller.

Grades in Condition Reports

We provide a general, numeric condition grade to help with overall condition guidance. Please review the specific condition report and extra images for each lot before bidding.

Grade 1: this item exhibits no signs of use or wear and could be considered as new. There are no flaws. Original packaging and protective plastic are likely intact as noted in the lot description.

Grade 2: this item exhibits minor flaws and could be considered nearly brand new. It may never have been used, or may have been used a few times. There are only minor condition notes, which can be found in the specific condition report.

Grade 3: this item exhibits visible signs of use. Any signs of use or wear are minor. This item is in good condition.

Grade 4: this item exhibits wear from frequent use. This item either has light overall wear or small areas of heavy wear. The item is considered to be in fair condition.

Grade 5: this item exhibits normal wear and tear from regular or heavy use. The item is in good, usable condition but it does have condition notes.

Grade 6: this item is damaged and requires repair. It is considered in fair condition

Any reference to condition in a catalogue entry will not amount to a full description of condition, and images may not show the condition of a lot clearly. Colours and shades may look different in print or on screen to how they look in real life. It is your responsibility to ensure that you have received and considered any condition report and grading.

References to “HARDWARE”

Where used in this catalogue the term “hardware” refers to the metallic parts of the bag, such as the buckle hardware, base studs, lock and keys and /or strap, which are plated with a coloured finish (e.g. gold, silver, palladium). The terms “Gold Hardware”, “Silver Hardware”, “Palladium Hardware” etc. refer to the tone or colour of the hardware and not the actual material used. If the bag incorporates solid metal hardware this will be referenced in the lot description.

POST 1950 FURNITURE

All items of post-1950 furniture included in this sale are items either not originally supplied for use in a private home or sold as collector’s items. These items may not comply with the provisions of the Furniture and Furnishings (Fire) (Safety) Regulations 1988 (as amended in 1989, 1993 and 2010, the “Regulations”). Accordingly, these items should not be used as furniture in your home in their current condition. If you do intend to use such items for this purpose, you must first ensure that they are reupholstered, restuffed and/or recovered (as appropriate) in order that they comply with the provisions of the Regulations.

IDENTITY VERIFICATION

From January 2020, new anti-money laundering regulations require Christie’s and other art businesses to verify the identity of all clients. To register as a new client, you will need to provide the following documents, or if you are an existing client, you will be prompted to provide any outstanding documents the next time you transact.

Private individuals:

• A copy of your passport or other government-issued photo ID

• Proof of your residential address (such as a bank statement or utility bill) dated within the last three months

Please upload your documents through your christies.com account: click ‘My Account’ followed by ‘Complete Profle’. You can also email your documents to info@christies.com or provide them in person.

Organisations:

• Formal documents showing the company’s incorporation, its registered ofice and business address, and its oficers, members and ultimate benefcial owners

• A passport or other government-issued photo ID for each authorised user

Please email your documents to info@christies.com or provide them in person.

SYMBOLS USED IN THIS CATALOGUE

The meaning of words coloured in bold in this section can be found at the end of the section of the catalogue headed ‘Conditions of Sale’

º

Christie’s has a direct financial interest in the lot

See Important Notices and Explanation of Cataloguing Practice.

∆ Properties in which Christie’s or another Christie’s Group companyhas an ownership or financial interest. See Important Notices and Explanation of Cataloguing Practice.

♦ Christie’s has a direct financial interest in the lot and has funded all or part of our interest with the help of someone else. See Important Notices and Explanation of Cataloguing Practice.

¤ A party with a direct or indirect interest in the lot who may have knowledge of the lot’s reserve or other material information may be bidding on the lot

• Lot offered without reserve which will be sold to the highest bidder regardless of the pre-sale estimate in the catalogue.

~ Lot incorporates material from endangered species which could result in export restrictions. See Paragraph H2(b) of the Conditions of Sale.

■

See Storage and Collection pages in the catalogue.

Ψ

Lot incorporates material from endangered species that is not for sale and shown for display purposes only. See Paragraph H2(g) of the Conditions of Sale.

φ

Please note that this lot is subject to an import tariff. The amount of the import tariff due is a percentage of the final hammer price plus buyer’s premium. The buyer should contact Post Sale Services prior to the sale to determine the estimated amount of the import tariff. If the buyer instructs Christie’s to arrange shipping of the lot to a foreign address the buyer will not be required to pay the import tariff, but the shipment may be delayed while awaiting approval to export from the local government. If the buyer instructs Christie’s to arrange shipping of the lot to a domestic address, if the buyer collects the property in person, or if the buyer arranges their own shipping (whether domestically or internationally), the buyer will be required to pay the import tariff. For the purpose of calculating sales tax, if applicable, the import tariff will be added to the final hammer price plus buyer’s premium and sales tax will be collected as per The Buyer’s Premium and Taxes section of the Conditions of Sale.

Please note that lots are marked as a convenience to you and we shall not be liable for any errors in, or failure to, mark a lot.

STORAGE AND COLLECTION

PAYMENT OF ANY CHARGES DUE

Specified lots (sold and unsold) marked with a filled square (■) not collected from Christie’s by 5.00pm on the day of the sale will, at our option, be removed to Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn). Christie’s will inform you if the lot has been sent offsite.

If the lot is transferred to Christie’s Fine Art Storage Services, it will be available for collection after the third business day following the sale.

Please contact Christie’s Post-Sale Service 24 hours in advance to book a collection time at Christie’s Fine Art Services. All collections from Christie’s Fine Art Services will be by pre-booked appointment only.

Please be advised that after 50 days from the auction date property may be moved at Christie’s discretion. Please contact Post-Sale Services to confirm the location of your property prior to collection.

Tel: +1 212 636 2650

Email: PostSaleUS@christies.com

Operation hours for both Christie’s Rockefeller and Christie’s Fine Art Storage are from 9:30 am to 5:00 pm, Monday – Friday.

COLLECTION AND CONTACT DETAILS

Lots will only be released on payment of all charges due and on production of a Collection Form from Christie’s. Charges may be paid in advance or at the time of collection. We may charge fees for storage if your lot is not collected within thirty days from the sale. Please see paragraph G of the Conditions of Sale for further detail.

Tel: +1 212 636 2650

Email: PostSaleUS@christies.com

SHIPPING AND DELIVERY

Christie’s Post-Sale Service can organize domestic deliveries or international freight. Please contact them on +1 212 636 2650 or PostSaleUS@christies.com.

Long-term storage solutions are also available per client request. CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality. Please contact CFASS New York for details and rates: +1 212 636 2070 or storage@cfass.com

STREET MAP OF CHRISTIE’S NEW YORK LOCATIONS

Christie’s Rockefeller Center

20 Rockefeller Plaza, New York 10020

Tel: +1 212 636 2000

PostSaleUS@christies.com

Main Entrance on 49th Street

Receiving/Shipping Entrance on 48th Street

Hours: 9.30 AM - 5.00 PM

Monday-Friday except Public Holidays

Christie’s Fine Art Storage Services (CFASS)

62-100 Imlay Street, Brooklyn, NY 11231

Tel: +1 212 974 4500

PostSaleUS@christies.com

Main Entrance on Corner of Imlay and Bowne St.

Hours: 9.30 AM - 5.00 PM

Monday-Friday except Public Holidays

02/08/19

SALE TEAM

HEAD OF SALE

Michael Baptist +1 347 439 1210 mbaptist@christies.com

CATALOGUERS

Shereen Al-Sawwaf +1 646 623 7562 sal-sawwaf@christies.com

William Featherby +1 917 825 9294 wfeatherby@christies.com

Emily Rose Fitzgerald +1 917 628 0406 efitzgerald@christies.com

SALE COORDINATOR

Isabella Smith +1 347 703 0798 isabellasmith@christies.com

ILLUSTRATIONS

Back Cover Inside Flap: Barkley Hendricks, Stanley, 1971.

WRITERS

Graham Bell

Anna Campbell

Stephen Jones

Grace Linden

William J. Simmons

DESIGNER

Marci Imamoglu

COPYRIGHT CO-ORDINATION

Kelsey Dickinson

Anne Homans

IMPORTANT NOTICES AND EXPLANATION OF CATALOGUING PRACTICE

© Barkley L. Hendricks. Courtesy of the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York.

Frontispiece One: Alice Neel, Pregnant Betty Homitzky, 1968.

© The Estate of Alice Neel. Courtesy The Estate of Alice Neel and David Zwirner.

Frontispiece One: Gerald Fineberg residence, New York.

Artwork: © Estate Sturtevant, Paris; © 2023 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York. Courtesy David Zwirner;

© Richard Prince.

Frontispiece Two: Gerhard Richter, Badende 1967 (detail).

© Gerhard Richter 2023 (0090).

Frontispiece Three: Man Ray, Portrait de Kiki, 1923 (detail).

Frontispiece Four: Francis Picabia, Sans Titre, circa 1925-1927 (detail).

Frontispiece Five: Gerald Fineberg Residence, New York.

Artwork: © 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York; © The Estate of Alice Neel. Courtesy The Estate of Alice Neel and David Zwirner.

Opposite Contents Page: Kazuo Shiraga, Hoshōkai (Lop Nur), 1988 (detail).

© The Estate of Kazuo Shiraga; Courtesy of Fergus McCaffrey, New York.

Opposite Sale Information Page: Alex Katz, Ada with Pink Hat, 1971 (detail).

© 2023 Alex Katz / Licensed by VAGA at Artists Rights Society (ARS), NY.

Frontispiece Six: Lee Krasner, Untitled, circa 1956-1959 (detail).

© 2023 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York.

Opposite Introduction: Gerald Fineberg residence, New York.

Artwork: © Ed Ruscha; © 1998 James Rosenquist, Inc. / Licensed by Artists Rights Society (ARS), NY. Used by permission. All rights reserved.

SPECIAL THANKS

Femi Barleycorn

Emma Boyd

Leah Brand

Lou Clinton-Celini

Catie Van Elslander

Elena Ferrara

Sara Friedlander

Alexandra Gesar

Shannon O Deens

Rusty Riker

Stacey Sayer

Corrie Searls

Georgia Smith

Addison Spier

Erica Thorpe

Paris Tully

Opposite Part I Sale Information: Gerhard Richter, Abstraktes Bild, 1986 (detail).

© Gerhard Richter 2023 (0090).

Frontispiece Eight: Gerald Fineberg residence, New York.

Artwork: © 2023 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York; © 2023 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York; © Estate of Joan Mitchell; © 2023 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York.

Frontispiece Nine: Gerald Fineberg residence, New York.

Artwork: © The Estate of Kazuo Shiraga; Courtesy of Fergus McCaffrey, New York; © 2023 Fairweather & Fairweather LTD / Artists Rights Society (ARS), New York; © 2023 The Easton Foundation / Licensed by VAGA at Artists Rights Society (ARS), New York; © Richard Prince.

Frontispiece Ten: Gerald Fineberg residence, New York.

Artwork: © 2023 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York; © 2023 Judd Foundation / Artists Rights Society (ARS), New York; © 2023 Ettore Sottsass / Artists Rights Society (ARS), New York.

Frontispiece Eleven: Gerald Fineberg residence, New York.

Artwork: © Richard Prince; © 2023 The Easton Foundation / Licensed by VAGA at Artists Rights Society (ARS), New York; © Estate Sturtevant, Paris.

Frontispiece Twelve: Willem de Kooning in his East Hampton studio.

Photo: Eddy Posthuma de Boer. Artwork: © 2023 The Willem de Kooning Foundation / Artists Rights Society (ARS), New York.

Frontispiece Thirteen: Gerald Fineberg residence, New York.

Artwork: © Estate of Joan Mitchell; © 2023 Ruth Asawa Lanier, Inc. / Artists Rights Society (ARS), New York. Courtesy David Zwirner; © 1998 James Rosenquist, Inc. / Licensed by Artists Rights Society (ARS), NY. Used by permission. All rights reserved; © Richard Prince; © Barkley L. Hendricks. Courtesy of the Estate of Barkley L. Hendricks and Jack Shainman Gallery, New York; © 2023 Fairweather & Fairweather LTD / Artists Rights Society (ARS), New York.

Frontispiece Fourteen:

Gerald Fineberg residence, New York.

Artworks: © 2023 Cindy Sherman; Courtesy Metro Pictures; © The Estate of Alice Neel. Courtesy The Estate of Alice Neel and David Zwirner; © 2023 Alex Katz / Licensed by VAGA at Artists Rights Society (ARS), NY.

Opposite Part II Sale Information: James Rosenquist, Women’s Intuition, 1998 (detail).

© 1998 James Rosenquist, Inc. / Licensed by Artists Rights Society (ARS), NY. Used by permission. All rights reserved.

Opposite Photographs Sale Information:

August Sander, Der Maler Anton Räderscheidt, Köln, 1927.

© 2023 Die Photographische Sammlung/SK Stiftung Kultur - August Sander Archiv, Cologne; ARS, New York.

Opposite Hong Kong Post-War and Contemporary Art Sale

Information:

Yayoi Kusama, Untitled (Flower), 1970 (detail).

© YAYOI KUSAMA.

Endpiece One: Gerald Fineberg residence, New York.

Artwork: © Estate of Joan Mitchell; © 2023 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York; © 2023

Estate of Alma Thomas / Artists Rights Society (ARS), New York;

© 2023 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

Endpiece Two: Gerald Fineberg residence, New York. Artwork: © 2023 Judd Foundation / Artists Rights Society (ARS), New York; © 2023 Ettore Sottsass / Artists Rights Society (ARS), New York; © 2023 Artists Rights Society (ARS), New York / SIAE, Rome

Back Cover:

Alma Thomas, A Fantastic Sunset, 1970.

© 2023 Estate of Alma Thomas / Artists Rights Society (ARS), New York.

Opposite: Mark Tansey, Study for End of History Victory Party, 19921999 (detail).

© Mark Tansey.

© Christie’s Inc. 2023

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