22 minute read
Modern & Contemporary Fine Art
6.13.2023
Previews: Friday, June 9th
Saturday, June 10th
Monday, June 12th 12pm-4pm Daily, or by appointment
This is an interactive brochure. Click on any image or hyperlink for more information.
Meet the Team
Tuesday, June 13th: Doors open 10am Hayden Hunt Co-Head of
SINCE 1969
& APPRAISERS
1
“Adam’s
$1,000-1,500
KAWS X OriginalFake
“Yellow Companion Skeleton,” 2007
Screenprint in colors on cardboard with metal fasteners, all together in the original white and yellow envelope From the edition of unknown size
Unsigned
Skeleton: 39.5” H x 38” W (irreg.)
$1,000-1,500
Notes: Produced by Original Fake, Tokyo, Japan
“Talking Heads,” 1986
Lithograph on paper
Edition: 50/85
Signed, dated, and numbered in pencil along the lower edge: Robert Longo and with an unidentified blindstamp in the upper left corner
Image/Sheet: 30.25” H x 22.125” W
$1,000-1,500
4 Yaacov Agam (b.1928)
Composition
Screenprint in colors on paper
Edition: 41/99
Signed and numbered in ink along the lower margin: Agam; titled by repute
Image: 16” H x 20.75” W; Sight: 17.25” H x 23” W
$1,000-1,500
Signed lower right:
6
Richard Anuszkiewicz
Untitled from the “Peach Portfolio,” 1972
Screenprint in colors on paper
Edition: 89/150
Signed and numbered in pencil in the lower margin: Anuszkiewicz; with the artist’s blindstamp lower left margin
Sight: 39.25” H x 28.75” W
$800-1,200
Josef Albers (1888-1976)
Josef Albers’s “Homage to the Square” series is a print in the series features a series of squares arranged exploration of optical illusion, color theory, and the process that involved layering colors on top of each considered one of his most significant contributions collection of screenprints created by the German-American artist between 1962 and 1976. Each arranged within one another, with each square a different color. The series is characterized by its the relationship between form and space. The prints were created using a meticulous printing each other to achieve a precise and uniform appearance. Albers’s “Homage to the Square” series is contributions to the art world, as well as one of the most influential works of abstract art of the 20th century.
Related artists include Anni Albers, Carmen Herrera, Frank Stella.
7
Josef Albers (1888-1976)
One plate from “Homage to the Square,” 1964
Screenprint in colors on a double-size sheet of wove paper, folded as issued Edition: 72/125
Initialed and dated in pencil lower right: A; numbered in pencil lower left
Image: 11” H x 11” W; Sheet (folded): 19” H x 15” W
$3,000-5,000
8
Josef Albers (1888-1976)
One plate from “Homage to the Square,” 1964
Screenprint in colors on a double-size sheet of wove paper, folded as issued
Edition: 72/125
Initialed and dated in pencil lower right: A; numbered in pencil lower left
Image: 11” H x 11” W; Sheet (folded): 19” H x 15” W
$3,000-5,000
9
Josef Albers (1888-1976)
One plate from “Homage to the Square,” 1964
Screenprint in colors on a double-size sheet of wove paper, folded as issued Edition: 72/125
Initialed and dated in pencil lower right: A; numbered in pencil lower left
Image: 11” H x 11” W; Sheet (folded): 19” H x 15” W
$3,000-5,000
10
Josef Albers (1888-1976)
One plate from “Homage to the Square,” 1964
Screenprint in colors on a double-size sheet of wove paper, folded as issued
Edition: 72/125
Initialed and dated in pencil lower right: A; numbered in pencil lower left
Image: 11” H x 11” W; Sheet (folded): 19” H x 15” W
$3,000-5,000
11
Barry McGee (b. 1966)
Untitled, 2006 Screenprint in colors on a large brown paper envelope Edition: 4/30
Signed, dated, numbered, and with the artist’s device, all verso Image/Sheet: 10.125” H x 13.125” W
$1,000-2,000
Provenance: Headlands Center for the Arts, Marin County, CA. Park Life Gallery, San Francisco, CA Private Collection, San Francisco, CA
Notes: This lot is accompanied by a copy of a sales invoice and receipt from Park Life, San Francisco, CA, dated July 6, 2009.
Joan Brown (1938-1990)
Joan Brown (1938-1990) was a prominent American introspective artworks, Brown played a significant of personal identity and social issues made her a highly
Joan Brown was born on February 13, 1938, in San interest in art. Brown’s artistic talent was evident from Francisco Art Institute) in 1955. There, she studied a significant role in shaping her artistic vision.
In the late 1950s and early 1960s, Brown began to gradually transitioned into a more figurative style. history. Brown’s work often featured bold and expressive
During the 1960s, Brown became associated with and Elmer Bischoff. The movement emphasized a period often depicted herself, her family, and everyday as she explored themes of identity, femininity, and
In the 1970s, Brown’s artistic style evolved further. made significant contributions to the field of printmaking exploration of printmaking techniques allowed her
In 1972 Brown began training with Hall of Fame swimming her paintings. Sava, a highly regarded swim coach quickly gained a reputation for his ability to connect swimmers have achieved remarkable success, with coaching methods have produced athletes who have Games and World Championships.
One of the printmaking techniques that Joan Brown narrative elements that were characteristic of her paintings. lithographic surface, resulting in vibrant and dynamic
Related artists include John Altoon, Robert Arneson, Lobdell, Bruce McGaw, John McLaughlin, Manuel Staprans, James Weeks, William T Wiley, Emerson
American figurative painter associated with the Bay Area Figurative Movement. Known for her vibrant and role in the revival of figurative painting in the 1960s and 1970s. Her distinctive style and exploration highly respected and influential artist.
San Francisco, California. Growing up in the vibrant art scene of the Bay Area, she developed an early from a young age, and she enrolled in the California School of Fine Arts (now known as the San studied under prominent artists such as Elmer Bischoff, Richard Diebenkorn, and Clyfford Still, who played to gain recognition for her works. Her early paintings were influenced by abstract expressionism but She drew inspiration from a variety of sources, including personal experiences, mythology, and art expressive brushstrokes, with vibrant colors that captured the vitality and energy of her subjects. the Bay Area Figurative Movement’s group of artists that included Richard Diebenkorn, David Park, return to figuration after the dominance of abstract expressionism. Brown’s artworks from this everyday objects. Her introspective and autobiographical approach to art resonated with many viewers, and the human experience. swimming coach Charlie Sava, who became a life-long friend and mentor, and a frequent subject of coach known for his expertise and dedication to the sport, began working with young swimmers and connect with athletes and create a positive training environment. Under Sava’s guidance, many of his with numerous national and international champions emerging from his coaching programs. His have represented their countries in prestigious swimming competitions, including the Olympic
She incorporated elements of pop art and experimented with collage and mixed media, and also printmaking throughout her artistic career. While she is primarily known for her paintings, Brown’s her to expand her creative practice and experiment with new forms of expression.
Brown frequently utilized was lithography. Brown’s lithographs retained the same expressive quality and paintings. She skillfully translated her bold brushwork, gestural lines, and rich colors onto the dynamic prints.
Arneson, Elmer Bischoff, William Theophilus Brown, Roy Dean De Forest, Richard Diebenkorn, Frank Neri, Nathan Oliveira, David Park, Roland Petersen, John Saccaro, Hassel Smith, Raimonds Emerson Woelffer, and Paul Wonner.
12
Joan Brown (1938-1990)
“Charlie Sava,” 1974 From the edition of unknown size Lithograph on paper Signed and dated in pencil lower left: Joan Brown Image/Sheet: 30.125” H x 22.25” W
$1,000-1,500
13
Edward Ruscha
(b. 1937)
“Hollywood In The Rain,” from “Hollywood Collects,” 1970
Offset lithograph on paper
Edition: 80/220
Signed and numbered in pencil along the lower margin: Ed Ruscha; with the title, date, and copyright of the original 1969 lithograph printed in black at right; Otis Art Institute, Los Angeles, CA, pub.
Image: 8.125” H x 32.75” W; Sheet: 10.5” H x 35.125” W
$3,000-5,000
Notes: Ed Ruscha’s depictions of the “Hollywood” sign remain one of the most recognizable images in the artist’s oeuvre. This particular image was by the Otis College of Art and Design art gallery for its “Hollywood Collects” exhibition held in 1970.
Described by the Los Angeles Times as “an exhibition of 20th Century art culled from the living rooms of leading Hollywood personalities,” “Hollywood Pablo Picasso, Salvador Dali, Jean Dubuffet, Pierre Bonnard, and Pierre Auguste Renoir that were contemporaneously valued at over $10 million, Andrews, Kirk Douglas, Gregory Peck, and Dennis Hopper.
Other impressions of this print are held in the collections of the Fine Art Museums of San Francisco and the Harry Ransom Center at the University black ink directly below the image, was commissioned and published
Related artists include John Anthony Baldessari, Robert Barry, Larry Bell, Billy Al Bengston, Mel Bochner, Robert Cottingham, Jim Dine, Charles Gaines, Indiana, Jasper Johns, Alex Katz, Ellsworth Kelly, Sol LeWitt, Roy Lichtenstein, Ed Moses, Bruce Nauman, Claes Oldenburg, Richard Pettitbone, Larry Rosenquist, Kenny Scharf, Frank Stella, Wayne Thiebaud, Lawrence Weiner, and Tom Wesselmann.
“Hollywood Collects” featured works by lent by celebrities including Julie University of Texas.
Gaines, David Hockney, Robert Larry Rivers, Kay Rosen, James
14 Miles Davis (1926-1991)
“New York By Night”
Screenprint in colors on Stonehenge paper
Edition: 145/300
With the estate stamped signature in the lower right margin: Miles; numbered in pencil, with two blindstamp, and with the artist’s red chopmark, along the lower margin; with the estate ink stamp verso: The Estate of Miles Davis, 1998; Atelier GF, Toronto, Canada, prntr.; Bag One Arts Inc., New York, NY, pub.
Image: 34.25” H x 24.25” W; Sheet: 42” H x 30” W
$1,500-2,000
Notes: Accompanying this lot is a certificate of authenticity from the publisher, Bag One Arts Inc., New York, NY. The certificate is signed by the director, Lynne Clifford in ink. This sheet states that “Each print is signed in the plate and embossed with Miles’ signature and red chop mark. The characters on the chop were selected by Miles Davis and translate ‘Blues King; Dancing Spirit.’” Additionally, aside from the edition of 300, there are 25 artist proofs, six printer proofs, and five Hors Commerce.
The screenprint in this lot was used as the cover art for the box set of recordings by the Miles Davis Quintet, which was released in 2006 by the Concord Music Group.
15
Josh (SHAG) Agle (b. 1962)
“Shag’s Zodiac,” 2003
12 Screenprints in colors in a black folio box Edition: 96/200
Each signed and numbered in pencil in the lower margin: SHAG
Each image: 12.125” H x 14.125” W; Each sheet: 14.5” H x 16.125” W
$1,000-1,500
Notes: This lot is accompanied by a Certificate of Authenticity, signed by Josh (SHAG) Agle. This certificate also details that there are only 30 Artist proofs and ten printer proofs.
Josh Agle born on August 31, 1962, known professionally as Shag (stylized as SHAG), is a contemporary artist widely known for his distinctive style that captures the essence of mid-century modernism and retro pop culture. With his vibrant colors, bold designs, and playful characters, SHAG has become an icon in the world of modern art.
Growing up in Southern California, SHAG developed a deep appreciation for the architecture, design, and fashion of the 1950s and 1960s. His artistic journey began during his childhood, where he would spend countless hours drawing and immersing himself in the visual culture of the time. These early experiences would later shape his artistic vision and inspire his signature style.
In the late 1980s, SHAG attended the California State University, Fullerton, where he studied both illustration and fine art. His studies allowed him to refine his skills and experiment with different mediums, including painting, printmaking, and sculpture. During this time, he also started exhibiting his work in local galleries and art shows, slowly gaining recognition for his unique approach to art.
It was in the early 1990s that SHAG began to establish his distinct style, drawing inspiration from Palm Springs culture, mid-century modern design, Tiki culture, cocktail lounges, and vintage advertising. He created a universe of characters, often depicted in glamorous and whimsical settings, exuding an air of sophistication and mystery. With his masterful use of flat colors and sharp lines, SHAG’s art transports viewers into a retro-futuristic world that feels simultaneously nostalgic and contemporary.
16
(1926-2020)
“The 50th Year, The New School,” 1969
Screenprint in colors on paper
From the edition of unknown size
Unsigned; HKL Ltd., New York, NY, prntr.
Sight: 34.25” H x 24.25” W
$800-1,200
17
“Script
Ink
$2,000-3,000
Provenance: Hanson Galleries, Los Angeles, CA Private Collection, Los Angeles, CA, acquired from the above in October 1989
19
Mary (Sister) Corita Kent (1918-1986)
Four plates from: “Words of Ugo Betti: Innocence and the Process of Justification in the Late Plays of Ugo Betti,” 1965 Four screenprints in colors on wove paper
Edition: 7/275
Each signed in ink along the lower edge, at center: Sister Mary Kent; loose, as issued, presented together within the protective section of the original book with red cloth-covered boards; Immaculate Heart College Press, Los Angeles, CA, pub. Each image/sheet: 17.125” H x 13.5” W
$1,500-2,500
Notes: This is not the complete set of eight screenprints. This set comprises only four screenprints, which include: “Each of Us is the Only Person,” “Have Confidence,” “Perhaps That is His Purpose,” and “I am Sinning Still.” However, the set of four is still together inside the original special edition book “Words of Ugo Betti: Innocence and the Process of Justification in the Late Plays of Ugo Betti.” Corita Kent created these screenprints for Sister Marier Fluerette’s essay included in the special edition book.
According to the description page in the original red portfolio book, “Designed and hand-set in Bembo type by Saul & Lillian Marks 275 copies printed on specially made Curtis all-rag paper at the Plantin Press for the Immaculate Heart College Press with a suite of eight original serigraphs on 3M Art Fabric by Sister Mary Corita, I.H.M. Binding by the Schuberth Bookbindery, San Francisco... This is number 7.”
20
Sam Francis
“Untitled - SF 297,” 1987
Lithograph and screenprint in colors on paper
Edition: 4/50
Signed and numbered in pencil along the lower edge: Sam Francis; titled and dated on a label affixed to the frame’s backing
Image/Sheet: 37” H x 28.5” W
$3,000-5,000
Provenance: Jonathan Art Foundation, Los Angeles, CA
Notes: The Jonathan Art Foundation is a non-profit organization whose public charitable purpose is to acquire and exhibit outstanding artworks which focus primarily on Southern California artists and history, and to maintain such works and books as a resource for use by scholars.
21
John Baldessari
(1931-2020)
“Visionaire 64 Art, Green Edition” 2014
The complete set of 10 screenprints with embossed color interventions on thick wove paper
Edition: 467/500
Each: Unsigned; the set numbered in black ink on the recto of the portfolio case; the set of 10 loose prints sold together with the original interleaving sheets and title page on machine-made vellum, and the black cloth-covered portfolio box with embossed lettering, numbering, and green design; Visionaire, New York, NY, pub.
Each Image/Sheet: 18” H x 12” W
$2,000-4,000
Notes: The Green edition features Gisele Bündchen, Maurizio Cattelan, Drake, Julianne Moore, Scarlett Johansson, Bill Cunningham & Antonio Lopez, Neil Patrick Harris, John Waters, Lionel Messi, and Yoko Ono.
22
Alexander Calder (1898-1976)
“Sun with Planets,” 1973
Lithograph in colors on paper, watermark Arches
Edition: E.A., aside from the edition of 125
Signed and numbered in pencil lower right and left, respectively: Calder; partial watermark in the upper right corner; Maeght, Paris, France, pub.
Image/Sheet: 20.375” H x 28” W
$3,000-5,000
Provenance: Sold: Swann Galleries, New York, NY, “Contemporary Art,” May 12, 2022, Lot 149 Private Collection, Southern California, acquired from the above
23
“La Vague (The Wave),” 1971 Lithograph in colors on paper
Edition: 91/100
Signed and numbered in pencil at the lower right and left, respectively: Calder
Image/Sheet: 29.875” H x 22.5” W
$2,500-3,500
24 Alexander Calder (1898-1976)
“Spiral Nebula,” circa 1970 Lithograph in colors on wove paper Edition: 94/100
Signed and numbered in pencil at the lower right and left, respectively: Calder
Image/Sheet: 29.5” H x 43.25” W
$1,000-2,000
26
Alexander Calder (1898-1976)
“Sun and Flags,” 1972
Lithograph in colors on paper
Edition: E.A. aside from the edition of 125 Signed and inscribed in pencil along the lower edge: Calder
Image/Sheet: 25.5” H x 19.5” W
$1,500-2,000
25
Alexander Calder (1899-1976)
“Lo Oscuro Invade,” 1970 Lithograph in colors on Arches paper
Edition: 322/500
Initialed in pencil at the lower right: CA; signed by the poet and numbered in pencil lower left: Carlos Franqui
Image/Sheet: 28.25” H x 40.5” W
$1,500-2,500
“JFK - Four Portraits,” 1989
Screenprint in colors on paper
Edition: 62/495
Signed and numbered in the lower margin: Max
Image/Sheet: 40” H x 32” W
$1,000-1,500
“Liberty Head II,” 2006
Mixed media with acrylic paint and color lithography on paper
Signed lower right: Max
Sight: 9.5” H x 7.5” W
$2,000-3,000
29
Damien Hirst (b. 1965)
“Circle Spin Painting”
Acrylic on paper
With the black ink stamped signature and inscription, verso: D. Hirst / This painting was made by / to celebrate the opening / of Damien Hirst, Requiem / at the PinchukArtCentre / on April 25-26th, 2009 / © Damien Hirst, all verso; and with the artist’s blindstamp verso; titled by repute 20.5” Dia.
$3,000-5,000
Notes: This lot was created at Damien Hirst’s spin workshop.
30
Damien Hirst (b. 1965)
“Skull Spin Painting,” 2009
Acrylic on paper
With the black ink stamped signature and inscription, verso: D. Hirst / This painting was made by / to celebrate the opening / of Damien Hirst, Requiem / at the PinchukArtCentre / on April 25-26th, 2009 / © Damien Hirst, all verso; and with the artist’s blindstamp verso; titled by repute 28” H x 19.75” W (irreg.)
$3,000-5,000
Notes: This lot was created at Damien Hirst’s spin workshop.
Damien Hirst (b. 1965)
“Gold Tears,” 2012
Color inkjet with glaze and foilblock on Hahnemuhle photo rag ultra smooth 305gsm paper
Edition: 3/55
Signed and numbered in the lower margin: Damien Hirst; Paul Stolper and Other Criteria, London, England, pub.
Image: 27.25” H x 21.75” W; Sheet: 34” H x 28” W
$7,000-9,000
Notes: Aside from the edition of 55, there is also a set of 10 artist proofs.
32
“Clown Violoncelliste,” 1969
Lithograph in colors on paper
Edition: 112/120
Signed and numbered in pencil in the lower margin: Bernard Buffet Image: 27” H x 18.5” W; Sheet: 28.375” H x 20.125” W
$800-1,200
33 Georges Braque (1882-1963)
“Oiseau Vert Sur Fond Brun,” from “Si Je Mourais La-bas,” 1962
Woodcut in colors on Japon paper Edition: 43/70
Signed and numbered in charcoal along the lower edge: G. Braque; Fequet and Baudier, Paris, France, prntr., Louis Broder, Paris, France, pub. Image/Sheet: 19” H x 15.5” W
$1,000-2,000
Provenance: Sotheby Parke Bernet, New York, NY, Lot 207
Literature: cf. Vallier 181
Notes: A yellow lot sticker from Sotheby Parke Bernet is affixed on the frame’s cardboard backing, with lot number 207. As well as a green inscription of the lot number, verso: LA 207
35
Georges Braque
(1882-1963)
“L’Oiseau bleu,” (Invitation exposition Louis Broder pour le livre de Braque), circa 1960 Etching and aquatint in blue on paper, watermark BFK Rives
Edition: V/X
Signed and numbered in the lower margin: G. Braque; Atelier Crommelynck, Paris, pub. Plate: 7.625” H x 15.375” W; Sheet: 13” H x 19.875” W
$3,000-5,000
Provenance: Sotheby Parke Bernet , New York, NY, Lot 206
Notes: A white sticker from Sotheby’s Parke-Bernet is affixed on the frame’s cardboard backing and a green inscription of the lot number: LA 206.
34
Georges Braque
(1882-1963)
“L’Oiseaux Noirs,” 1958 Lithograph in colors on paper Edition: 15/200
Signed in the plate lower right: G Braque; signed again and numbered in pencil along the lower margin: G Braque; with the Maeght, Paris, pub., blindstamp in the lower left margin
Image:13.75” H x 19” W; Sheet: 15.75” H x 21.75” W
$2,500-3,500
Provenance: Europex Auctions
Literature: Vallier 294
36
Marc Chagall (1887-1985)
Two works:
Plate 5 from “La Feerie et le Royaume,” 1972
Lithograph in colors on Arches paper
Edition: 40/180
Signed and numbered in pencil along the lower margin: Marc Chagall
Image/Sheet: 11.875” H x 8.5” W
Plate 3 from “La Feerie et le Royaume,” 1972
Lithograph in colors on Arches paper
Edition: 82/180
Signed and numbered in pencil along the lower margin: Marc Chagall
Image/Sheet: 11.875” H x 8.5” W
$1,500-2,500
37
Marc Chagall (1887-1985)
“Couple sur Fond Noir II,” 1973
Lithograph in colors on Japon nacre paper
Edition: 38/50
Signed and numbered in pencil in the lower margin: Marc Chagall; Maeght, Paris, pub.
Image: 13” H x 10” W; Sheet: 21.75” H x 16.75” W
$2,500-3,500
Literature: Mourlot 707a
38
Marc Chagall (1887-1985)
“Un Jardin Perdu,” 1969
Lithograph in colors on wove paper
Edition: IV/XXV artist’s proof, aside from the edition of 50
Signed and numbered in pencil along the lower margin: Marc Chagall
Image: 23.75” H x 15.75” W; Sheet: 30” H x 21.5” W
$6,000-8,000
Literature: Mourlot 592
39
Joan Miró (1893-1983)
“Homenatge a Joan Prats” 1972
Lithograph in colors on wove paper
Edition: 120/150
Signed and numbered in pencil in the lower right and left sheet corners, respectively: Miró; Poligrafa, Barcelona, prntr; Berggruen, Paris, pub.
Image/Sheet: 29.5” H x 22.75” W
$2,500-3,500
Literature: Mourlot 852
Notes: This lot is sold together with a “Notice of Registration” issued by Paintings of the World Inc. (no location listed), certifying that the work is a “signed lithograph” by the artist.
40
Joan Miró (1893-1983)
“The Taciturn Majorcan,” 1969
Lithograph in colors on wove paper, watermark BFK Rives
Edition: 10/75
Signed and numbered in pencil at the lower right and left corners, respectively: Miró; Maeght, Paris, pub.
Image/Sheet: 33.375” H x 23.75” W
$3,000-5,000
Literature: Mourlot 595
41
“La Sorciere,” 1969
Etching and aquatint in colors with carborundum on Arches paper Edition: 17/75
Signed and numbered in pencil along the lower edge: Miró; Maeght, Paris, France, pub.
Plate: 39” H x 23.5” W; Sheet: 41.5” H x 27.75” W
$12,000-18,000
Provenance: Russeck Gallery, Palm Beach, FL
Literature: Dupin 519
42
Joan Miró
1893-1983
“Centennaire de l’Imprimerie Mourlot,” 1953 Lithograph in colors on wove paper, watermark Arches
One of 30 artist’s proofs aside from the numbered edition of 75 Signed in pencil, lower right: Miró; inscribed in pencil, lower left: e.a. [epreuve d’artiste]; Mourlot, Paris, prntr./pub.
Image/Sheet: 19.875” H x 25.875” W”
$15,000-25,000
Literature: Mourlot 190
Provenance: Russeck Gallery, San Francisco, CA Private Collector, San Francisco, CA, acquired from the above
43
Joan Miró (1893-1983)
“La Meneuse de Lune,” 1975
Lithograph in colors on Arches paper
Edition: 15/30
Signed in pencil lower right: Miró; numbered lower left; Maeght Editeur, Paris, France, pub., Paris, France
Image: 89” H x 42.5” W; Sight: 91.5” H x 47.75” W
$30,000-50,000
Literature: Mourlot 1029
Other Notes:
In “La Meneuse de Lune,” Miró explores his distinctive artistic style and combines it with a mystical theme often associated with the moon, creating a captivating and dreamlike composition. The print showcases a fantastical scene that invites viewers into a world of imagination and whimsy.
The central focus of the print is the Moon’s Leader herself, depicted in Miró’s signature abstract manner. The figure of the Moon’s Leader is often represented as a female figure with flowing lines and organic shapes, merging human and celestial characteristics. Miró’s use of curvilinear forms and playful shapes conveys a sense of movement and energy, as if the Moon’s Leader is dancing or leading a mystical ritual.
The moon itself plays a prominent role in the composition, occupying a significant portion of the print. Miró captures the essence of the moon with circular and crescent shapes, sometimes filled with intricate patterns or textures. The moon’s presence imbues the artwork with an ethereal quality, evoking a sense of mystery, tranquility, and magic.
Miró’s use of bold colors adds vibrancy and intensity to “La Meneuse de Lune.” He employs a rich palette of blues, oranges, reds, and greens, creating a harmonious interplay of hues. The juxtaposition of warm and cool colors enhances the dreamlike quality of the artwork, evoking emotions and a sense of wonder.
Through “La Meneuse de Lune,” Joan Miró invites viewers to explore their own imaginative realms and engage with the magical world he has created. The print serves as a larger-than-life visual poem, inviting contemplation, and encouraging viewers to embrace the whimsical and surreal aspects of life.
44
Friedenreich Hundertwasser
(1928-2000)
“Look at it on a Rainy Day (Regentag Portfolio),” 1970-72
10 Screenprints in colors with metallic embossing on various papers
Edition: 2044/3000
Signed and numbered in blue pencil on the inside lid of the original wooden portfolio case: Hundertwasser; each image signed again with the embossed gold signature, and the ink-stamped edition number 02044[sic], in either the lower or left margin; six of the images with the Schoeller Stern blindstamp, and one with the Schoeller Parole blindstamp, in the lower right margin corner, the three images on colored papers without blindstamps; Dietz Offizin, Lengmoos, Bavaria, in cooperation with Günter Dietz, prntr.; Ars Viva, Zürich, Switzerland, pub.; loose as issued; together with original, hinged, black wooden box with color-embossed cover embellished with miniature images and list of plates
Sheet for nine images: 16” H x 23” W; Sheet for image #5: 18.75” H x 26.25” W
$8,000-12,000
Notes: This lot is sold together with the original, custom-fitted, cardboard outer packaging box with the artist’s name and edition number written in ink at one end.
Literature: Koschatzky 44-53
45
Joseph Beuys
(1921-1986)
“Initiation Gauloise,” 1974
Lithograph in colors on wove paper
Edition: 47/185
Signed, titled, dated, and numbered in pencil lower right: Joseph Beuys and with artist’s rubber stamp addition; Matthieu Studio, Zürich/Dielsdorf, Germany, prntr.; Edition Schellmann & Klüser, Munich, Germany, pub.
Image/Sheet: 21.625” H x 30” W
$800-1,200
46
Kathe Kollwitz (1867-1945)
“Deutschlands Kinder Hungert (Germany’s Children are Starving),” 1923 Lithograph on on wove paper Signed in pencil near the lower edge, at center; Plate: 17” H x 11.5” W; Sheet: 19.75” H x 14.75” W
$1,000-2,000
Provenance: Sold: Bonhams, New York, NY, “Modern & Contemporary Prints & Multiples,” November 17, 2015, Lot 13
Literature: Klipstein 190
Knesebeck 202
Notes: This lot is accompanied and sold together by a sales invoice from Bonhams, New York, NY, dated November 19, 2015, and other related materials.
47
Kathe Kollwitz (1867-1945)
“Losbruch (Outbreak),” from “Bauernkrieg (Peasants’ War),” 1902 Etching, aquatint, and softground on paper , in brown ink
From the edition of unknown size
Signed in pencil in the lower margin, at left: Kathe Kollwitz
Plate: 19.75” H x 23.125” W; Sheet: 23.5” H x 27” W
$1,000-2,000
Provenance: Sold: Galerie Bassenge, Berlin, Germany, “Modern Art Part I,” May 28, 2011, Lot 08149
Literature: Klipstein 66 VIII (of XI)
Knesebeck 70 VIIIb (of XII)
Notes: This lot is sold together with a sales invoice from Galerie Bassenge, Berlin, Germany, dated May 30, 2011. As well as the catalog entry of this lot from Galerie Bassenge, and other related materials.
48
Kathe Kollwitz (1867-1945)
“Selbsbildnis (Self-portrait),” 1919 Lithograph on Japon paper
From the edition of unknown size
Signed and dated in pencil lower margin, at right: Kathe Kollwitz; numbered in pencil in the lower edge, at center: 2878
Image: 13.375” H x 11.125” W; Sheet: 24.25” H x 17.25” W
$1,500-2,500
Provenance: Sold: Butterfield & Butterfield, San Francisco, CA, “American & European Prints,” April 21, 1999, 1887
Literature: Klipstein 133 Knesebeck 143
Notes: This lot is accompanied by a sales invoice from Butterfield & Butterfield, San Francisco, CA, on April 30, 1999, and other related material for this lot.
49
Kathe Kollwitz (1867-1945)
“Die Pfluger (The Plowman),” from “Bauernkrieg Series (Peasants’ War),” 1906 Etching, drypoint, and soft ground in brown ink on laid paper
From the edition of unknown size
Signed in pencil in the lower right margin: Kathe Kollwitz
Plate: 12.5” H x 18” W; Sheet: 17.5” H x 24” W
$2,000-4,000
Provenance: Sold: Bonhams & Butterfields, San Francisco, CA, “Prints,” October 26, 2010, Lot 89
Literature: Klipstein 94
Knesebeck 99 VII (of XIII)
Notes: This lot is sold together with a sales invoice from Bonhams, New York, NY, dated November 19, 2015, and a printed copy of catalog raisonne by Alexandra von dem Knesebeck (99).
50
“Brustbild einer Arbeiterfrau mit blauem Tuchor (Working Woman with Blue Shawl),” 1903 Lithograph in colors on thick wove paper
$3,000-5,000
Provenance: Sold: Bonhams, London, England, “Prints Featuring Andy Warhol and the Rise of Pop,” November 19, 2013, Lot 16
Literature: Klipstein 68
Knesebeck 75
Notes: This lot is accompanied by a sales invoice from Bonhams, London, England, dated November 19, 2013, and other related materials for this lot.
51
Marino Marini (1901-1980)
“Idea del Cavaliere,” 1971
Lithograph in colors on Arches paper
Edition: 44/50
Signed and numbered in pencil in the lower margin: Marino; Mourlot, Paris, prntr.; Societe Internationale d’Art XXe Siecle, Paris, pub.
Image: 21.25” H x 16” W; Sheet: 27.25” H x 20” W
$1,000-2,000
Provenance: Catchpenny Gallery, Santa Monica, CA
Literature: Guastalla 103
“Nu
Etching and aquatint in colors on paper
Edition: 1/100
Signed and numbered in pencil in the lower margin: Foujita
Plate: 23” H x 15.375” W; Sheet: 26.75” H x 18.625” W
$800-1,200
“Banging the Drum,” 2020
Offset lithograph in colors on wove paper
From the edition of unknown size
Unsigned; Dallas Contemporary, Texas, pub.
Image/Sheet: 27” H x 17” W
$800-1,200
“Real One,” 2019
Offset lithograph in colors on #80 Classic Linen Solar White Cover
Unsigned Sheet: 15” H x 17” W
$800-1,200
55
Mayumi Oda (b. 1941)
“Rainbow” from “Goddesses,” 1976
Woodcut in colors on handmade paper
Edition: 56/75
Signed, dated, and numbered in pencil in the lower margin: Mayumi Oda
Image: 29.75” H x 22.75” W
$1,500-2,500
56
Yayoi Kusama
(b. 1929)
“Pumpkin” (yellow); and “Pumpkin” (red), 2016
Each painted lacquer resin
Each marked on bottom: © Yayoi Kusama
2 pieces
Each: 4” H x 3.25” Dia.
$800-1,200
“Bird of Paradise” from “Hawaii-California Suite,” 1973
Lithograph in colors on paper
Edition: 217/300
Signed and numbered in pencil in the lower margin: Dali Sight: 24.5” H x 17” W
$800-1,200
Notes: Bruce Hochman ® ™ OS has confirmed the authenticity of this lot.
59
Pablo Picasso (1881-1973)
“Le Viol, IV,” Plate 29 from “La Suite Vollard,” 1933
Etching and drypoint on Montval paper, watermark Vollard
From the edition of 260, aside from the edition of 50 with wider margins
Signed in pencil lower right margin: Picasso
Plate: 17.875 x 11” W; Sheet: 13.5” H x 17.75” W
$4,000-6,000
Literature: Bloch 181
“Tete d’ Homme Barbu,” 1966
Lithograph on paper, watermark Arches
Edition: 17/100
Signed and numbered in pencil in the lower margin: Picasso
Image: 15.25” H x 10.75” W; Sheet: 22.375” H x 15.125” W
$4,000-6,000
61
Henri Matisse (1869-1954)
“Figure devant tapa africain,” 1929
Lithograph on Japan imperial paper
Edition: 35/50
Signed and numbered in pencil in the lower right margin: Henri Matisse
Image: 21.25” H x 17.25” W; Sheet: 25.5” H x 19.625” W
$4,000-6,000
Provenance: Mekler Gallery, Los Angeles, CA
Property of an Estate, Beverly Hills, CA, acquired from the above
Literature: Duthuit 515
“Picasso, Matisse, and Giacometti: A Graphic View of the Human Form,” Fresno Arts Center, March 15 - April 28, 1983, and The Art Museum of Santa Cruz County, May 15 - June 26, 1983, fig 35, illustrated.
Notes: A copy of the 1983 exhibition booklet accompanies this lot
62
Henri Matisse (1869-1954)
“Formes,” Plate IX from “Jazz,” 1947 Pochoir in colors on Arches
From the folded edition of 250 (there was also an unfolded, portfolio edition of 100)
Unsigned, as issued; Edmond Vairel, Paris, France, prntr.; Teriade for Editions Verve, Paris, France, pub.
Sheet: 16.5” H x 25.5” W
$5,000-7,000
Literature: cf. Duthuit 22
63
Pierre-Auguste Renoir (1841-1919)
“Portrait of Rosita Mauri,” circa 1876 Charcoal on paper Usigned; titled and dated on a label affixed to the verso of the back mat Image/Sheet: 18.875” H x 12” W
$18,000-22,000
Provenance: Paul Rosenberg & Co., New York, NY
The Estate of Mrs. Henry B. Hyde, acquired from the above Acquired from the above by the family of the late owner, June 1973
Sold: Christie’s, New York, NY, “Impressionist Modern,” September 21, 2010, Lot 28
65
Francisco De Goya (1746-1828)
“Fiero Monstruo,” Plate 81 from “The Disasters of the War,” 1959 Drypoint and etching on Arches paper Unsigned; with the Calcografia Nacional embossed stamp lower left Plate: 7” H x 8.5” W; Sheet: 10” H x 13” W
$1,000-2,000
Literature: Harris 201
66
Rufino Tamayo (1899-1991)
“Femme en Mauve,” from “Mujer en Lila” [Woman in Lilac] ,” 1969
Lithograph in colors on BFK Rives paper
Edition: 91/150
Signed and numbered in pencil in the lower margin: R. Tamayo; Touchstone Publishers, New York, NY, pub.
Image: 27” H x 20.75” W; Sheet: 30” H x 22.5” W
$1,500-2,500
Provenance: Catchpenny, Santa Monica, CA
Literature: Turner 113
67 Pedro Friedeberg (b. 1936) “Perros” Screenprint in colors on canvas
Edition: IX/XII
Signed and numbered in the lower margin at the right and left, respectively: Pedro Friedeberg; titled by repute Image/Canvas: 46.75” H x 46.875” W
$1,000-2,000
