Sims Reed Gallery 2019 Catalogue | Edition #3

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43a Duke Street St. James’s London SW1Y 6DD + 44 (0)20 7930 5111 gallery@simsreed.com www.gallery.simsreed.com

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Modern Post––War Contemporary Prints & Works on Paper

edition 3 2019

“What an artist is trying to do to something, because of You wouldn’t be an artist an experience,

for people is bring them closer course art is about sharing. unless you wanted to share a thought.�

David Hockney

Howard Hodgkin In an Empty Room Intaglio with carborundum and hand-colouring, 1990-91.

Initialled and dated in pencil, one of four printer’s proofs, aside from the edition of 55.

Printed at the 107 Workshop, Wiltshire.

Published by Waddington Graphics, London.

(Heenk 84).

120.5 x 149 cm

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Howard Hodgkin Blue Listening Ear & Red Listening Ear Both etchings with aquatint, carborundum and hand-colouring in tempera, 1986.

Signed and dated in pencil, numbered from the edition of 100.

Printed on TH Saunders NOT paper by 107 Workshop, Wiltshire.

Published by Bernard Jacobson Ltd., London.

(Heenk 73 & 74).

47.6 x 64.1 cm (each)

Howard Hodgkin Into the Woods, Spring Etching with aquatint, carborundum and hand-colouring, 2001-02.

From Into the Woods.

Initialled and dated in pencil, one of three printer’s proofs, aside from the edition of 19.

Printed on two sheets of wove paper at the 107 Workshop, Wiltshire.

Published by Alan Cristea Gallery, London.

203 x 266 cm

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Richard Hamilton Fashion–Plate Photo-offset lithograph, collage, screenprint from two stencils and pochoir, retouched with cosmetics by the artist, 1969–70.

Signed in pencil and numbered from the edition of 70.

Printed on Fabiano paper. Photographic and screenprint elements printed by the artist and Kelpra Studios, London. Offset printing by Sergio and Fausta Tosi, Milan.

Collage elements printed by David Bailey, Milan.

Published by Professional Prints A.G., Zug (Petersburg Press S.A.) (Lullin 76).

99.3 x 69 cm

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David Hockney Celia Observing Aquatint, drypoint and etching, 1976.

Signed and dated in pencil, a printer’s proof, aside from the edition of 20.

Printed on BFK Rives paper.

Published by Petersburg Press, London and New York.

90.2 x 74.6 cm

David Hockney Alka Seltzer Etching and aquatint, 1961.

Signed in pencil, a proof aside from the edition of 15 (there were also 6 artist’s proofs).

Printed on Crisbrook handmade paper by Maurice Payne, London.

Published by Petersburg Press, London.

(Scottish Arts Council; Tokyo 6).

77.2 x 102.6 cm

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David Hockney Cushions Etching, 1968.

Signed and dated in pencil, an artist’s proof aside from the edition of 75.

Printed by Maurice Payne, London.

Published by Petersburg Press, London.

(Scottish Arts Council 64).

56 x 53 cm

Patrick Caulfield RosĂŠ Bottle Screenprint in colours, 1975.

Signed in pencil, numbered from the edition of 70.

Printed on wove paper at Kelpra Studio, London with their inkstamp verso.

Published by Waddington Graphics, London.

(Dempsey 43).

77.3 x 102.6 cm

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Patrick Caulfield Grey Pipe Screenprint in colours, 1981.

Signed in pencil, an artist’s proof aside from the edition of 75.

Printed at Kelpra Studios, London.

Published by Waddington Graphics, London.

(Dempsey 64) 71.8 x 74.3 cm

Bridget Riley Untitled Screenprint in colours, 1973.

From the Rothko Portfolio.

Signed in pencil, numbered from the edition of 75.

Printed on Aquarelle Arches Satine paper by Kelpra Studio, London.

Published by the Mark Rothko Memorial Trust, London.

(Schubert 19).

71 x 91.7 cm

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Bridget Riley Nineteen Greys The complete set of five screenprints in colours, 1968.

Each signed, dated and titled in pencil, numbered from the edition of 75.

From the deluxe edition of 30, which includes the additional fifth screenprint.

Printed on stiff card by Kelpra Studio, London.

Published by the artist.

(Schubert 8a-d).

75.5 x 76 cm (each)

Bridget Riley Red Dominance Screenprint in colours, 1977.

Signed, titled and dated in pencil, and numbered from the edition of 100.

Printed by Graham Henderson, London.

Published by Pace Editions, New York.

(Schubert 24).

98 x 49.1 cm

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Bridget Riley Between the Two & About Lilac Both screenprints in colours, 2005 & 2007.

Each signed in pencil and numbered in pencil from the edition of 75.

Printed by Artizan Editions, Hove.

Published by the artist.

(Schubert 62 & 65).

48.3 x 80 & 48.9 x 80 cm

Terry Frost Timberaine: E Triptych of three woodcuts printed in colours, 2000-01.

Each signed in pencil verso, numbered from the edition of 16.

Printed on wove paper by Stoneman Graphics, Cornwall.

Published by The Paragon Press, London.

(Kemp 201).

104.8 x 150 cm

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Patrick Heron Untitled Screenprint in colours, 1973.

From the Rothko Portfolio.

Signed and numbered in pencil, from the edition of 75.

Printed on J Green Mould Made paper by Kelpra Studio, London.

Published by the Mark Rothko Memorial Trust, London.

68.5 x 91 cm

Allen Jones Beach Scene Lithograph printed in colours, 1979.

Signed and dated in pencil, numbered from the edition of 55.

Printed by Solo Press, Inc., New York.

Published by Waddington Graphics, London.

(Lloyd 79).

66 x 96.5 cm

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David Hockney Picture of a still life in an elaborate silver frame Lithograph printed in colours, 1965.

From A Hollywood Collection.

Signed and dated in pencil, numbered from the edition of 85.

Printed on BFK Rives paper by Gemini Ltd., Los Angeles.

Published by Editions Alecto.

(Scottish Arts Council 41).

77 x 56.5 cm

Eric Fischl Man, Woman, Boy Sublimation on mylar with pins and digital pigment print on paper, 2018.

Signed and dated in pencil, from the edition of 9.

Printed and published by Hexton Gallery, Chicago.

82.6 x 105.4 cm

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Francis Bacon Metropolitan Triptych Three etchings with aquatint printed on one sheet, 1974-77.

Signed in pencil, numbered from the edition of 99.

Printed on Guarro wove paper and published by PolĂ­grafa, Barcelona.

(Sabatier 4).

62 x 109 cm

Henry Moore Reclining Figure: Piranesi Background I Etching with drypoint, 1979.

Signed in pencil, numbered from the edition of 50.

Printed by Lacourière et Frélaut, Paris.

Published by Raymond Spencer Company Ltd. for The Henry Moore Foundation, Hadham.

(Cramer 510).

38 x 53.5 cm

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Henry Moore Reclining Woman III Lithograph printed in colours, 1980-81.

Signed in pencil, numbered from the edition of 50.

Printed by Curwen Prints Ltd., London.

Published by Raymond Spencer Company Ltd. for The Henry Moore Foundation, Hadham.

(Cramer 593).

62.8 x 80 cm

Pablo Picasso Le Peintre et son modèle nu au chapeau Linocut, 1965.

Signed in pencil, numbered from the edition of 160.

Printed on Arches wove paper and published by ArnĂŠra, Vallauris.

(Baer 1357; Bloch 1194).

53 x 64 cm

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Henri Matisse Nu assis les bras ĂŠtendus Lithograph, 1925.

Signed in pencil, numbered from the edition of 50.

Printed on Japan paper and published by the artist.

(Duthuit 468).

56 x 45.5 cm

Roy Lichtenstein The Sower Lithograph, woodcut and screenprint in colours, 1985.

From the Landscape series.

Signed and dated in pencil, numbered from the edition of 60.

Printed on Arches 88 paper and published by Gemini G.E.L., Los Angeles.

(Corlett 211).

104.1 x 141 cm

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Richard Hamilton Lobby Collotype and screenprint in colours, 1984.

Signed in pencil, one of 9 artist’s proof, aside from the edition of 88.

Printed on Ivorex paper by the artist and Eberhard Schreiber, Stuttgart and Frank Kicherer, Stuttgart.

Published by Waddington Graphics, London, with their blindstamp.

(Lullin 142).

42.9 x 58.2

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John Baldessari Studio Lithograph with screenprint in colours, 1988.

Signed in pencil, an artist’s proof aside from the edition of 150.

Co-published by ART/LA 88 and Cirrus Editions, Los Angeles.

(Coplan Hurowitz 41).

75.2 x 97.4 cm

Josef Albers SP II Screenprint in colours, 1967.

Initialled and dated in pencil, numbered from the edition of 125.

From the portfolio SP. Printed on Schรถllers Hammer Board.

Published by Editions Domberger, Stuttgart, for Galerie der Spiegel, Cologne.

(Danilowitz 175.2) 61.3 x 61.5 cm

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Josef Albers Blue Reminding Screenprint in colours, 1966.

Signed and dated in pencil, numbered from the edition of 200.

Printed on Mohawk Superfine Bristol paper.

Published by Ives-Sillman, Inc., New Haven.

(Danilowitz 168).

43.2 x 43.2 cm

Sol LeWitt Wavy Lines (Color) Oil-based woodcut printed in colours, 1995.

Signed in pencil and numbered from the edition of 40.

Printed on Awa Kozo paper by Watanabe Studio Ltd., New York.

Published by John Campione, New York.

(Krakow 1995.04).

90.2 x 53.3 cm

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Sol LeWitt Arcs and Bands in Colors The set of six linocuts printed in colours, 1999.

Each signed in pencil, numbered from the edition of 50.

Printed on Somerset Velvet Radiant White paper by Watanabe Studio Ltd., New York.

Published by Editions Schellmann, New York.

(Krakow 1999.11).

50.8 x 50.8 cm (each)

Brice Marden Greyer Muses Etching with lithograph printed in colours, 2001.

Signed and dated in pencil, numbered from the edition of 45.

Printed on Somerset Satin wove paper and published by Gemini G.E.L., Los Angeles, with their blindstamp and inkstamp verso.

(Gemini 63.4).

56 x 76 cm

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Brice Marden Richard’s Muse Lithograph printed in colours, 2001.

Signed in pencil, numbered from the edition of 45.

Printed on Somerset Satin wove paper and published by Gemini G.E.L., Los Angeles, with their inkstamp verso.

(Gemini 63.14).

56.3 x 76.5 cm

Bruce Nauman Untitled (Gray) Lithograph printed in colours, 1971.

Signed in pencil, numbered from the edition 75.

Printed on Rives paper by Cirrus Editions, Los Angeles.

Co-published by Castelli Graphics, New York and Nicholas Wilder Gallery, Los Angeles.

(Cordes 9).

76.2 x 106.7 cm

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Bruce Nauman Dead Lithograph, 1975.

Signed and dated in pencil, numbered from the edition of 15.

Printed on roll Arches paper by Charly Ritt.

Published by Gemini G.E.L., Los Angeles, with their blindstamps and inkstamp verso.

(Cordes 30).

86.4 x 124.8 cm

John Chamberlain Work Monotype with screenprint, acrylic and metallic paint on paper, 1986.

Signed and dated in pencil, with the artist’s inkstamp recto.

211.5 x 75 cm

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Brice Marden Gulf Lithograph printed in colours, 1969.

From the New York Ten portfolio.

Signed and dated in pencil, numbered from the edition of 100.

Printed on BFK Rives paper by Chiron Press, New York, with their blindstamp.

Published by Tanglewood Editions, New York, with their blindstsamp.

(Lewinson 16).

51.3 x 66.2 cm

Christo and Jeanne–Claude Valley Curtain (Project for Colorado) Grand Hogback, 1971 Pencil, charcoal, wax crayon, gouache, fabric and staples on card, 1971.

Signed and dated in red crayon.

71 x 56 cm

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Christo and Jeanne–Claude Running Fence (Sonoma and Marin Counties, California), 1974 Pencil, charcoal, wax crayon, fabric and staples and blueprint on card, 1974.

Signed and dated in pencil.

71 x 55.8 cm

Christo and Jeanne-Claude Monuments The complete portfolio comprising two screenprints in colours, eight offset prints, the title/justification page and model made out of fabric, twine, metal and felt, 1968.

Each print signed in pencil, numbered from the edition of 100.

Loose as issued in the original cardboard box with illustration to the upper cover.

Published by Galerie Der Spiegel, Cologne.

The Monument model is a scale model of the 5,600 Cubic Meter Package (‘Air Package’) for Documenta 4 in Kassel, 1968, complete with the screenprinted installation instructions printed on one side of the title page. The original work, an inflatable sculpture, for Documenta 4, was erected in Kassel’s Karlsaue Park for two months, beginning on August 31st, 1968.

(Schellmann/Benecke 12-22).

70 x 54.5 cm (each) Model height: 68 cm

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Jonas Wood Notepad Doodle (State I) Lithograph printed in colours, 2017.

Signed in pencil, numbered from the edition of 20.

Printed on Rives BFK paper.

Published by Hamilton Press, Los Angeles.

40.6 x 27 cm

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Jonas Wood Untitled Lithograph, screenprint and woodcut printed in colours, 2009.

Signed in pencil, numbered from the edition of 50.

Published by Cirrus Gallery, Los Angeles.

101.6 x 72.4 cm

Giorgio Morandi I Pioppi Etching, 1930.

Signed in pencil, inscribed ‘prova di stampa’, a proof aside from the edition of 65.

First state (of two).

Printed on chine collé.

(Vitali 76).

47.6 x 34.8 cm

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Eileen Cooper Fable, Extend Collage with linocut, monoprint and inkwash, 2018.

Signed in pencil.

38 x 56.5 cm

Declan Jenkins The Declaration Woodcut printed in colours, 2019.

Signed in pencil, numbered from the edition of 15.

Printed and published by the artist, London.

56.3 x 36 cm

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Humphrey Ocean Low Profile Gouache and pencil on paper, 2017.

64 x 48 cm

Cy Twombly Natural History Part I, Mushroom: No. VII Mixed media lithograph printed in colours with collotype and photochrome elements, 1974.

Signed in pencil and numbered from the edition of 98.

Printed by Matthew Studio, Zurich.

Published by Propylean Verlag, Berlin.

(Bastian 48).

75.5 x 56 cm

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Eduardo Paolozzi Human Fate and World Powers, Pacific Standard Time, Agile Coin Gross Decision Logic, Hollywood Wax Museum Offset lithographs with screenprint in colours on Astrolux laminated to clear acrylic, 1970.

From the Zero Energy Experimental Pile Series.

Each signed and dated in black felt-tip pen, numbered from the edition of 100.

Published by Petersburg Press, London.

84 x 58 cm (each)

Gerald Laing Deceleration II Screenprint in colours, 1968.

Signed, titled and dated in pencil, numbered from the edition of 150.

Printed on smooth white paper by the artist.

Published by the artist with his blind stamp.

(Sims Reed 21).

89 x 58.5 cm

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Aaron Kasmin Delicious Coloured pencil, 2018.

30 x 21 cm

Fernand LĂŠger Les Danseuses (Fond Jaune) Lithograph printed in colours, 1954.

Signed in pencil and inscribed Bon a Tirer. A proof before the edition of 75.

Printed on Arches paper by Mourlot, Paris.

Published by Galerie Louise Leiris, Paris.

(Saphire 137).

65.5 x 50 cm

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Fernand Léger La Femme et la fleur Lithograph printed in colours, 1954.

Signed in ink and inscribed Epreuve d’artiste in pencil.

An artist’s proof aside from the edition of 75.

Printed on Arches paper by Mourlot, Paris.

Published by Galerie Louise Leiris, Paris.

(Saphire 136).

76 x 56.5 cm

Pablo Picasso L’Escalier de Flore: Illustration I Drypoint on celluloid, 1958.

From the edition of 35 (there was also an edition of 4 in Roman numerals).

Printed on Auvergne Gourbeyre laid paper.

Printed and published by Pierre André Benoit, Alès, France.

With the central vertical fold, as issued.

An illustration for René Char’s L’Escalier de Flore.

(Baer 1020; Bloch 865; Cramer Books 94).

34 x 22.5 cm

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Pablo Picasso Sueño y Mentira de Franco I & II The pair of etchings with aquatint, 1937.

Each signed in pencil, numbered from the ‘édition de tête’ of 150 (there were also 30 artist’s proofs numbered in Roman numerals and a stamp-signed edition of 850).

Printed on Chine Collé on Japon Impérial paper by Lacourière, Paris.

Published by the artist, Paris.

Accompanied by original text pages and publisher’s wove wrappers with label reproducing Picasso’s manuscript title pasted to front wrapper.

(Baer 615-16; Bloch 297-98; Cramer 28) 61 38.2 x 57.5 cm (each).

Joan Mirรณ Untitled (from 24 Essais) Etching, 1935.

From 24 Essais by Anatole Jakovski.

Signed in pencil, numbered from the edition of 50.

Printed by Tanneur, Paris.

Published by G. Orobitz & Cie, Paris.

(Dupin 16; Cramer Books 3).

31.8 x 23.5 cm

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Joan Mirรณ Barcelona: XXV Lithograph, 1939.

From the Barcelona Series.

Signed and dated in pencil, numbered from the edition of 5.

Printed in 1944 on Torras Juvinya paper.

Published by Joan Prats, Barcelona.

(Mourlot 30).

69 x 52 cm

Joan Miró Le Marteau sans maître The complete set of 26 etchings with aquatint printed in colours, 1976.

Each signed in pencil and numbered from the deluxe edition of 50 in Roman numerals (aside from the text edition of 125).

Printed on Japon nacré paper by Morsang, Paris.

Published by Le Vent d’Arles, Paris.

(Cramer 216; Dupin 944-969).

44 x 33 cm. 44.5 x 66 cm (each).

A selection is illustrated here. A full list is available.

I. Le Marteau sans maître: one plate (Dupin 950) II. Marteau sans maître: one plate (Dupin 952)

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III. IV. V. VI.

Le Marteau sans maître: one plate (Dupin 946) Le Marteau sans maître: one plate (Dupin 965) Le Marteau sans maître: one plate (Dupin 961) Le Marteau sans maître: one plate (Dupin 954)

Joan Mirรณ Partie de Campagne: III Etching and aquatint printed in colours, 1967.

Signed in pencil, numbered from the edition of 75.

Printed on Mandeure paper by Arte Adrien Maeght, Paris.

Published by Maeght Editeur, Paris.

(Dupin 432).

74.9 x 104.1 cm

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Published by Sims Reed Gallery June 2019 43a Duke Street St. James’s London SW1Y 6DD + 44 (0)20 7930 5111 gallery@simsreed.com www.gallery.simsreed.com Designed by Plakat (www.plakat.co.uk) Type set in Portrait by Berton Hasebe.

Text pages printed on Omnia, Cover on Keaykolour Basalt.

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All rights reserved. No part of this publication maybe reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission in writing from the publisher.

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