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A Tale of Two Cities

Karshan Property from the Estate of Howard Karshan

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Interior of Linda and Howard’s New York home.

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A Tale of Two Cities

Karshan Property from the Estate of Howard Karshan

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You’ve got to remember that in the 70s and 80s, there were not a lot of people collecting works on paper. Basically, if you went out to get something, you could get it. I wanted to put a wonderful collection together which I think I’ve accomplished.’ Howard Karshan

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New York

Interior of Linda and Howard’s New York home.

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Property from the Estate of Howard Karshan

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London

Interior of Linda and Howard’s London home.

A Tale of Two Cities

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‘Those have all been a part of my life, and the family’s life, since the 70’s, and I remember growing up with those images, and those shapes, those patterns and those colours have been with the family since the 70’s in fact.’ Howard's younger son

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Property from the Estate of Howard Karshan

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Interior of Linda and Howard's New York home. 10

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Foreword by Patrizia Koenig

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Essay by Frances Carey

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Essay by Hugo Chapman

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Essay by Suzanne Cotter

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Essay by Dr. David Anfam

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London & New York Sales

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Property from the Estate of Howard Karshan

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Connoisseur. Pioneer. Art lover.

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The Karshan Collection

The Karshan Collection encapsulates an exceptional odyssey of collecting, one that spans over 50 years and two continents. Living between London and New York, Howard Karshan together with his wife Linda - the distinguished artist - assembled one of the most signifcant collections of modern and post-war works on paper today. A true ode to the intimacy and unique sensibility of drawing, the works within this collection perfectly encapsulate the transatlantic life led by Howard and his wife Linda, including examples by some of the greatest European and American masters known today; from Pablo Picasso and Henri Matisse, Jackson Pollock and Sam Francis, to Gerhard Richter and Sigmar Polke. Born in Brooklyn, New York in 1933, Howard Karshan studied philosophy and law at New York University before embarking upon a successful career as a flm rights negotiator at CBS, Viacom, MGM and Turner. It was in the early 1960s that he discovered his true passion, catching the “bug for collecting”, as he described it, when he was assigned to work for CBS in Paris in 1962. Guided by a close friend with a background in art, Howard spent much of his time in Paris going to museums, meeting dealers and learning more about art history. He met his wife Linda for the frst time travelling from England to New York on the transatlantic ocean liner SS France; she, caught his attention partially because she was reading a Henri Matisse catalogue. A fne art and art history student at the time, Linda was crucial in guiding Howard in his journey of studying and collecting art. From his initial love of the great modern French masters his tastes grew to encompass a range of periods and styles. Following frst acquisitions of a work by Alberto Giacometti and a Cycladic idol sculpture, Howard built with great care, passion and study a renowned collection of modern and post-war works on paper that was not only of art historical importance, but also one that shaped the family’s life. Demonstrating great acumen, Howard recognized the potential of focusing largely on works on paper when very few collectors were doing so in the 1970s and 1980s. This opportunity coupled with extraordinary connoisseurship enabled him to amass a collection of the fnest works by 20th century artists. While very much engaged with the past, Howard demonstrated a keen appreciation for the art of the present.

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Property from the Estate of Howard Karshan

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The works he carefully acquired over the years convey his innate understanding of the historical trajectory of the modern art canon, as well as his insatiable curiosity in chronicling the art of his own time and place – all the while guided by a deep appreciation of the hand of the artist and the immediacy of drawing. In many ways, the Karshan Collection is a tale of two cities. Living between New York City and London, Howard became intimately acquainted with the art scene on both sides of the Atlantic. A true connoisseur with a curatorial sensibility, Howard pursued an in-depth approach to collecting that focused on acquiring work by select artists from their best periods. On the one hand, he built a superb collection of post-war European art, specifcally German, which includes works by Joseph Beuys, Gerhard Richter, Sigmar Polke, Georg Baselitz, Palermo, as well as Lucio Fontana and Jean Dubufet. On the other hand, he acquired representative works by some of the most signifcant American artists of the time, such as Agnes Martin, Dan Flavin, Carl Andre, Robert Smithson, Raymond Pettibon, and Wayne Thiebaud. At the very heart of the collection is above all a deep appreciation of the hand of the artist and mark making, as evidenced perhaps nowhere as succinctly in Richter’s Hände, 1963. This early photo-painting of a pair of outstretched hands fnds an intriguing pendant in Richter’s Busch, 1985, where the artist abstracted one of his signature blurred landscapes with abstract gestural marks. There is a similar push and pull between fguration and abstraction throughout the collection – the immediacy and expressiveness of the act of drawing functioning as an anchor; indeed this is one of recuring characteristics that defne this collection. Works such as Pollock’s Untitled, 1951, and Twombly’s, Sperlonga drawing, 1959, convey the abstract potential of drawing, while works such as Picasso’s Nu couché et homme écrivant, 1969, de Kooning’s Untitled (Group of 8 Drawings), 1965-1980, and Baselitz’s Untitled, 1967, celebrate its ability of distilling the human fgure to its most elemental form. A labor of love, the Karshan Collection was not just one to be lived with, but also one to be shared with a wider public by way of exhibition loans and generous gifs to institutions such as the British Museum, London, The Morgan Library & Museum, New York, and the Museum of Modern Art, New York, among others. A true philanthropist, Howard also pursued his commitment and passion for art on an institutional level. He notably held the position of the Head of Patrons of New Art at Tate, London, in which function he crucially initiated the Acquisitions Committee and was also selected to be on the Jury for the Turner Prize in 1992. Howard Karshan’s formidable legacy continues to live on in the selection of works brought together here, standing as a beacon of true connoisseurship, love for art and the exceptional vision of one of the most signifcant collectors and philanthropists of the past century. Patrizia Koening

A Tale of Two Cities

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‘This is another aspect of my art life that is really important today. I took the train from Waterloo Station to Southampton, couldn’t find a seat, and ended up in the bar car. The only other person in the bar car was this very pretty, very young girl reading a Matisse catalogue. So, we ended up married and I am the one who really benefitted from this thing from the standpoint of art. Here was someone who was really steeped in the history of art and her own drawings which I’ve admired a lot – some I have actually had to buy – and some she gave me which I totally love. I think she is a wonderful artist.’ Howard Karshan

© Courtesy of Carol Liege, Minneapolis. Photo album 50 years old.

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Property from the Estate of Howard Karshan

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A Tale of Two Cities

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Howard with Ted Turner and colleagues in Greece, circa 1990.

‘I was Head of the Patrons of New Art at Tate for four years and helped to extend the number of people involved by creating an acquisition committee to buy new art for Tate. I got people interested to contribute money to do it and it was quite successful during that period. I think we bought a lot. The other aspect was that I was named a judge on one of the Turner Prize committees. I do remember it was the year that Grenville Davey won and I love his work. While I am sitting here, I am looking at one of the rare sculptures that I have collected and it is one of Greville’s.’ Howard Karshan

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Property from the Estate of Howard Karshan

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Frances Carey Formerly Deputy Keeper and Head of National Programmes at the British Museum

It is rare for collectors to present themselves to the public. They hope to be regarded as scholars, connoisseurs, if needs be as owners too, but very rarely as what they above all are: lovers. When a great collector publishes the glorious catalogue of his treasures he may be displaying his collection, but only rarely does he display his genius for collecting. Walter Benjamin’s remarks in 1930 resonate with Howard Karshan and the catalogue before us. For Howard was indeed a lover - and a parent - not just of human beings, but of the characters housed within his collection. He accepted that his family members had lives of their own and that his children would fy the nest, but he could never really reconcile himself to letting go of his surrogate children – the works of art. Once he asked me and my husband David Bindman to recommend a paper conservator for his Cézanne watercolour. When we produced the name of someone working outside London, he looked dubious even as we reassured him that he would not have to go to her studio because the conservator came into London to collect and deliver work back to clients: ‘You know, I am from Brooklyn and I am not sure I like the idea of my Cézanne going to the country.’ His separation anxiety was genuine, albeit humorously expressed. Once a work entered his collection, it rarely lef, because these were things to be lived with, and to be cherished as part of a nexus of afective relationships in which the whole was greater than the sum of the parts. When Howard spoke of leaving the bathroom door ajar so he could see Henri Michaux’s drawings in the mirror while he shaved and brushed his teeth, or looking at Janine Antoni’s eyelash drawings whenever he watched television, he made you realise how completely the work sufused his every waking moment, and no doubt many sleeping ones too. He collected without pretension, though not without a degree of competitiveness for that is part of the psychology of the true collector, memorably captured by Benjamin again, in his essay Unpacking My Library. A Talk About Book Collecting (1931): ‘The most profound enchantment...is the locking of the individual items within a magic circle in which they are fxed as the fnal thrill, the thrill of acquisition’. ii What do we fnd as we unpack Howard’s ‘library’ in this catalogue? Firstly we should be aware of the sub-text:

A Tale of Two Cities

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a tale of at least two people and of two, three or more cities. The second person apart from Howard is his wife Linda of course, whose own practice as an artist, taste and knowledge played such a crucial role in informing the choices Howard made. The principal cities involved were New York, Howard’s heimat: his beginning and his end and a constant presence within his cultural frame of reference; Paris where his interest in the visual arts was awakened (his very frst purchase was of a Giacometti drawing); Munich where he became a client of the Fred Jahn Gallery, Basel where he regularly attended the art fairs, and London where he and Linda spent so much of their life together. It is a collection formed by an American abroad and at home, of artists working in Europe and the United States, of artists at the forefront of the art market and those who are less well known. The very fact that Howard took an interest in them should make us all sit up and pay attention. I learnt so much from my visits to the collection that it is invidious to single out just a few aspects, but I owe my appreciation of Sam Francis’s true artistry to the works on paper of the 1950s that Howard acquired. He also introduced me to Bill Anastasi’s drawing of the late 1960s, one of the most beautiful Jackson Pollock works on paper that I know - the elusive but utterly memorable work of 1951 – and to my favourite Claes Oldenburg drawing: Map of Chicago Stufed with Sof Numbers (1963). Of the many ‘elective afnities’ that emerged from the mosaic of work on the walls and foors of the Karshans’ apartment in London, was the recurrence of varying kinds of gestural marks, almost a form of automatic writing, whether it was that done with eyes closed by Anastasi, his hands acting as seismographs to register the rhythms he experienced on the New York subway, Michaux’s drawings under the infuence of mescalin, Twombly’s calligraphy or Antoni’s marks made by batting her eyelashes coated in a thick lash mascara. The impressive clusters of work by German artists: Georg Baselitz, Joseph Beuys, Anselm Kiefer, Palermo, Sigmar Polke, Arnulf Rainer, and Gerhard Richter were unusual to see in any collection outside the German speaking world. Of the more recently executed work, there are pieces by Marlene Dumas and Silvia Bächli – good to see women taking their turn, especially as Linda Karshan’s dedication to graphic art underpinned

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Howard in his New York home, 8 April, 2014. © Daniel Blau, Munich.

Howard’s developing engagement with drawing. Yes this is a more accessible medium in terms of price and availability, but it also requires a very particular sensibility and a grasp of how the positioning of the work on the sheet of paper is a vital part of the composition; sometimes the spaces in between matter as much as the actual marks on the paper. The works will take on new meaning in diferent contexts. I hope that wherever they go, they will be seen by many, providing the enjoyment and education that Howard, Linda, their family and their visitors derived from the ‘magic circle’ that was their collection.

‘I wanted to say something for the artists that were not depressed and not on drugs, or even if they were on drugs, they did amazing work. Looking right now at remarkable Baselitz drawings… I’m very happy with the fact that I have nine Baselitz drawings from the early 60’s and 70’s. They’re really quite extraordinary; he is an amazing artist.’ Howard Karshan

i Walter Benjamin’s Archive. Images, Texts, Signs, ed. Ursula Marx, Gudrun Schwarz, Michael Schwarz and Erdmut Wizisla, trans. by Esther Leslie, Verso, London and New York 2007, p.25, fig.1.8 ii Published in Illuminations with an introduction by Hannah Arendt, Pimlico, London 1999, p.62

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Property from the Estate of Howard Karshan

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Interior of Linda and Howard’s London home.

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Hugo Chapman

As a collector or a curator it is always good to hear positive comments about a new acquisition, but if that praise comes from someone whose taste and judgement one rates then it is really special. For me and my colleague, Stephen Coppel, in the British Museum’s Prints and Drawings Department, one such person was Howard Karshan. I can remember how thrilled we were when Howard told us how much he admired a group of early Baselitz drawings that had been given to us by Christian Dürckheim in 2013. Howard’s opinion had such weight because his collecting of 20th century drawing was clearly driven by a passion, knowledge and discernment, as well as an instinctive feeling for the rhythm and cadence of line. Of course Howard had the advantage of being married to an artist, Linda, to hone and develop his love of drawing, but then again it is surely not coincidental that he fell in love with someone who draws so beautifully. Hearing Howard talk about the works in his collection was always a treat as he was not a bulk purchaser but someone who would wait patiently to fnd a work that really spoke to him and in that way maintained a remarkably consistent qualitative standard for his collection. Stephen and I will certainly miss having him pass judgement on the year’s new crop of acquisitions at the Friends of Prints and Drawings this October, but I like to think he schooled us well enough to guess the works that would have won his approval. The sale of his collection provides an opportunity for the wider world to appreciate and savour Howard’s discrimination as a collector, and hopefully the scattering of the works will help spread the joy and pleasure that Howard took in the intimacy and immediacy of drawing.

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Property from the Estate of Howard Karshan

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Suzanne Cotter Director Mudam Luxembourg Musée d’Art Moderne Grand-Duc Jean

Howard Karshan – A collector in the world As a collector, Howard Karshan combined the qualities of intellectual openness and connoisseurship. He also loved to live with his collection and for others to share in this life. Visiting the apartments of Howard and his wife, the artist Linda Karshan, in London and later in New York when Howard returned to his native city as his permanent base, I was always struck by the simplicity of the furnishings and the rooms, whereas the walls were given over to a salon style hanging of stunning work afer work. Lunch was had in the company of exceptional drawings by Philip Guston or Georg Baselitz, while for dinner you could dine with Willem de Kooning and Cy Twombly. One of the many remarkable aspects of Howard’s collection of drawings and works on paper is its scope and its depth. If works by the generation of American artists from the 1960s and early 70s occupied a central place within the collection – from the American Pop artists Claes Oldenberg and Wayne Thiebaud, to Minimalist and Conceptual artists including Dan Flavin, Sol LeWitt, Robert Barry, Mel Bochner and Robert Smithson, Howard’s vision and interests spanned the entire twentieth century. Abstraction, surrealism, conceptual art, minimalism and process, expressionisms and neo–expressionisms were all present. Collectively, these works and artistic positions reveal Howard’s keen eye for an artistic intelligence capable of expressing or proposing observations on the world and existence. Howard was not an esthete. An avowed New Yorker from Brooklyn and die–hard baseball fan of the Mets, he was also an intellectual and a lover of culture, deeply European in his tastes and in his discretion. When asked about his favourite drawing in his collection, Howard would not skip a beat in responding: “The Cezanne”. That he also collected works by Paul Klee and André Masson, Henri Michaux, Wilfredo Lam, Roberto Matta and Lucio Fontana, refects, to my mind, his understanding and appreciation of how individual artistic expression is necessarily part of a dialogue, as much with history as with the artists of one’s time. Howard shared the art historian’s love of multiple histories, sometimes converging, ofen in parallel. Hence, his appreciation of the work of American artists coincided with knowledge of and deep respect for their contemporaries in Europe – Joseph Beuys, Baselitz, Gerhard Richter, Sigmar Polke, Palermo. And if works by male artists dominated in number, one could also fnd the work of important women artists including Rosemarie Trockel, Silvia Bachli, Miriam Cahn, Marlene Dumas, Ellen Gallagher, and Linda Karshan.

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Interior of Linda and Howard’s London home.

Howard’s profoundly thoughtful view of art and of artists underpinned the way he collected. If he bought from auction occasionally, for some ffy years he was an assiduous visitor to galleries from London and cities across Europe, and in New York. His role in sitting on jury panels and acquisition committees, for both Tate and MoMA, is further evidence of the institutional respect shown to him, not only for his knowledge and keen eye but also for his integrity. Howard liked nothing better (his family and friends, and the beloved Mets aside) than looking at art and visiting shows. He could sustain the pace of the most seasoned of curators in visiting two or three substantial exhibitions in a day, even into his early 80s, with humor, excitement, and with love. The history of great museums is made up of the history of inspired collectors. Howard Karshan was one of those collectors. The works he was able to bring together during his life reveal his deep love for art. He was genuinely moved by artists and their visions of the world. This was his world. It is also ours.

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Property from the Estate of Howard Karshan

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Jackson Pollock Ocean Greyness, 1953 oil on canvas Solomon R. Guggenheim Museum, New York

David Anfam Managing Director, Art Ex Ltd

© The Pollock-Krasner Foundation ARS, NY and DACS, London 2018. Image: Scala, Florence.

Light Touch, Deep Thoughts In its immediacy and direct connection to the human hand, drawing ranks among the most primal forms of human expression. Since the Renaissance onwards, draughtsmanship has been the traditional premise of art, a foundational means to capture the frst ideas that spring to the creative mind and translate them to a material plane – whether as rough as the Upper Palaeolithic era stone walls in Lascaux and Altamira or as refined as the hand-made papers sometimes favoured by modern and contemporary artists. As Andy Goldsworthy remarked (from the vantage point, tellingly, of a sculptor and land artist), ‘At its most essential [drawing describes] an exploring line alert to changes of rhythm and feelings of surface and space.ʼi In turn, surface, space, rhythm and line comprise the very building blocks that convey lived experience and its manifold sensations into the realm of art. At its best, drawing thus melds qualia, observation and imagination into a considered whole. Scant wonder that Jean-Auguste-Dominique Ingres – a consummate master of line, contour and shading –famously declared: ‘Drawing is the probity of art.’ As with artists, so with collectors. That artists themselves were the earliest Western collectors of art speaks volumes and reinforces the truth of Ingres’s insight. From Raphael and Peter Paul Rubens to the flourishing ‘cabinet des dessins’ during the eighteenth century and thence to the great drawing collectors in recent times, connoisseurship has remained the name of the game. Perhaps the relatively modest dimensions associated with works on paper encourage this close reading. If so, it also emphasises the profound links between drawing and writing, not to mention the fact that music appears on the pages of a score in linear format.ii Thus an equation arises between sound (spoken or musical), script and drawing that resonates, knowingly or subconsciously, with whoever practices or prizes any of these respectively everyday habits and specialist disciplines. Given the foregoing, the many works that Howard Karshan amassed together with his wife Linda – by no coincidence A Tale of Two Cities

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a distinguished graphic artist in her own right – take their place in a long line of collections that bespeak highly trained and discerning eyes behind their selection. Judged overall, they constitute a depictive world elsewhere,iii one set apart from the magnitude and potential bombast of painting and sculpture, let alone the hurly-burly of commonplace reality. To borrow a phrase from the French philosopher Gaston Bachelard, a sense of ‘intimate immensity’ thus hovers about the Karshan Estate collection. Since it is too large to enumerate in detail, certain pieces in particular seem to encourage sightlines that shed light on implicit affinities throughout. Consider the works by James Ensor, Sam Francis and Georg Grosz. Altogether disparate as they are in time, place and subject, one can discern certain signifcant themes underlying them. First, an element of horror vacui. Ensor’s charcoal embodies this deep-seated human impulse to fill space with that quintessential nineteenth-century leitmotif, the teeming crowd – denizens of what the poet Charles Baudelaire called in his magnum opus, Fleurs du Mal (1857), the ‘swarming city’ (‘fourmillante cité’). Here, though, the secular masses behold a sacred event, Christ’s resurrection from the tomb. At issue is a duality between the fallen and the risen, the corporeal and the spiritual. Light years distant in their inspiration, Francis’s six watercolours and ink on paper nevertheless share two formal traits with Ensor. Namely, that the dense array of marks – fgurative in Ensor and molecular in Francis – simultaneously veer between centripetal forces (clustering towards a centre) iv and centrifugal ones (bursting towards the margins). Also, uplif and down thrust contend in each artist’s imagery. As Ensor limned Christ’s literal Ascension above the terrestrial, Francis described his wish to always ‘fy, to foat like a cloud, but I am tied down to a place.’v In 1950 the Californian was much impressed by the Russian Kazimir Malevich’s Suprematist Composition: White on White (1918), which itself refected its painter’s pursuit of an ascent into the ether. 24

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How may the mutual horror vacui, centripetal/centrifugal and rising/falling motions relate to drawing’s crux? The answers are comparatively simple. In short, paper’s tabula rasa stimulates an urge to populate it, while manual gestures – anchored, of course, in the human body – perforce must move in and out, up and down, when addressing a planar ground. Cut to Grosz. Again, the vision is apocalyptic. Except that it is not cosmic-corporeal as with Francis (who spent years in hospital with spinal tuberculosis and was therefore attuned to inner anatomies and the blood fowing through them)vi nor theological as with Ensor (who, in depression, identified with Christ mocked and tormented by vulgar humanity). Instead, Grosz’s apocalypse was here-and-now, evoking the social and political catastrophes that befell his country in the First World War and its afermath. As such, Krieg-tumult relates to concurrent paintings: The Funeral (Dedicated to Oscar Panizza) (1917-18) and Germany: A Winter’s Tale (1918). Like Ensor’s fickering traces and Francis’s pale washes, Grosz found a line and rhythm to match his mood with a dynamised version of Cubism: black ink strokes slicing their way across the composition in violent zig-zags. Encompassing all three artists is the desire to wring from mere paper, pen and brush the human condition’s polarities ranging from life to death and inwardness to outreach. Francis summarised this sentiment: ‘I work from the light of paper to the darkness of my soul.’ vii Here a fourth artist is apposite. Willem de Kooning. In a group of eight drawings de Kooning pictured his idée fxe, the female, albeit reduced to a furry of feet strokes. They date from a period when he worked in an idiosyncratic way and may even specifcally stem from it. That is, drawing without seeing, as if to amplify one physical sense by suppressing another. De Kooning explained: ‘I am the source of a rumor concerning these drawings, and it is true that I made them with closed eyes. Also, the pad I used was always held horizontally. The drawings ofen started by the feet… but more ofen by the center of the body, in the middle of the page. There is nothing special about this… but I found that closing the eyes was very helpful to me.’ viii Scrutiny reveals marks that – even when they do not stand at the actual center of the sheet – suggest an initial tactile placement around which the rest of the anatomy pivots. These foci tend to correspond to the woman’s sex, nipple or navel. And in one study where the entire protagonist appears levitated diagonally across the sheet, there stands a dark dash at the exact centre. It fastens a presence that otherwise might, again, be rising or falling. Whichever, gravity is at stake. Ironically, de Kooning employed gravity and its consequences to undermine gravitas. Akin to Ensor and Grosz, de Kooning courted the grotesque: life as topsyturvy, at once upbeat and downcast.ix Likewise, the speed of de Kooning’s touch, light but incisive, articulates in graphic 25

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guise and with a glance’s swifness his deep thoughts about our existential predicament: ‘Because when I’m falling, I’m doing all right; when I’m slipping, I say, hey, this is interesting!.... I’m like a slipping glimpser.’x Absurdity reigns.xi If de Kooning’s canny confession and attendant facture imply that what the body and mind feel is writ large by the hand’s gestures, his fellow Abstract Expressionist Jackson Pollock gave this perception a different twist – as elegiac as the Dutchman remained manic. In doing so, he completes the quintet of artists from the Karshan Estate collection considered here. Pollock’s untitled drawing from 1951 is a ‘painting’ in all but name, loose as both defnitions may always be. This is because, despite paper being the support, it resembles a response to his classic enamel ‘pourings’ of 1947-50 and even anticipates the swirling, semi-inchoate morphology of canvases such as Ocean Greyness (fg. 1) also containing residual ovoids. Pollock himself supplied the context for this piece in a letter from the following year: ‘I’ve had a period of drawing on canvas in black – with some of my early images coming thru – think the non-objectivists will find them disturbing – and the kids who think it simple to splash a Pollock out.’xii Indeed, this is no ‘splashed out’ scrawl. Quite the opposite. Pollock chose a paper produced especially for him by Douglas Morse Howell at his Long Island papermaking studio. These were unique products, individually moulded dyed linen and fax fbre rag papers with their own textures, colours, shapes and tones.xiii Pollock expertly explored such crevice-like minute contours and subtle tints to the paper as he layered shades of grey that lef distinct, irregular outlines. It was as if the paper – to recall an earlier statement by Pollock about his canvases – had a life of its own.xiv Whether by Ensor, Grosz, Francis, de Kooning, Pollock or others skilled at drawing conceived as a potent microcosm, the Karshan cornucopia attests to the medium as a veritable handwriting of the self.xv

i

Tim Ingold, Andy Goldsworthy, 1994, in Lines: A Brief History, London & New York, 2007, p. 129 Ibid., pp. 34-38 The concept of ‘a world elsewhere’ derives from the American literary critic Richard Poirier’s book of the same name (1985). For its application to modern American art, see David Anfam, Abstract Expressionism: A World Elsewhere, New York, London, Zürich & Berlin, 2008 iii On the centralising/framing/circular structures employed by Francis, see William C. Agee, Sam Francis: Paintings 1947-1990, Los Angeles, 1999, pp. 27-30 v Ibid., pp. 24-25 vi Note the downward drips in several of the series. vii Francis, in Agee, op. cit., p. 27 viii Willem de Kooning, in Richard Shiff, Willem de Kooning, Valencia, 2001, p. 54. Although all the present drawings are vertical, this orientation need not preclude their origins having been horizontal. ix In the mid-1960s, de Kooning had in his studio a newspaper photograph of cheerleaders captured jumping in mid-air. See Richard Shiff, ‘Water and Lipstick: De Kooning in Transition,’ in Marla Prather, Willem de Kooning: Paintings, Washington D. C., 1994, p. 37 x Willem de Kooning, The Collected Writings of Willem de Kooning, Madras & New York, 1988, pp. 176-77 xi De Kooning’s stance is at core an antic equivalent to the German philosopher Martin Heidegger’s notion of ‘Geworfenheit’ frst expounded in Being and Time (1927): in sum, that we as human beings are thrown, willy nilly, into existence xii Pollock, letter to Alfonso Ossorio (June 1952), in Francis V. O’Connor and Eugene V. Thaw, Jackson Pollock: A Catalogue Raisonné of Paintings, Drawings, and Other Works, New Haven & London 1978, vol. 4, p. 261 xiii Stephanie Straine, ‘Beyond Work: Pollock Drawing,’ in Gavin Delahunty, ed., Jackson Pollock: Blind Spots, London, 2015, p. 105 xiv The sheet even bears a meticulously inscribed signature and date and was probably worked from both the recto and verso. xv Oskar Kokoschka, paraphrased in David Rosand, Drawing Acts: Studies in Graphic Expression, Cambridge & New York, 2002, p. 111 ii

iii

© Art Ex Ltd 2018

Property from the Estate of Howard Karshan

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Gerhard Richter

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20th Century & Contemporary Art Evening Sale London, 5 October 2018 20th Century & Contemporary Art Day Sale London, 4 October 2018 Editions & Works on Paper New York, 17 October 2018 20th Century & Contemporary Art Day Sale New York, November 2018 New Now London, December 2018 New Now New York, March 2019

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Georg Baselitz

b. 1938

Jäger mit Hund (Hunter with Dog) signed and dated ‘G. Baselitz 67’ lower right graphite on paper 62.9 x 48.6 cm (24 3/4 x 19 1/8 in.) Executed in 1967. Estimate £250,000-350,000 $323,000-452,000 €278,000-389,000 ‡ ♠ Provenance Galerie Heiner Friedrich, Munich Collection Borgmann, Cologne Galerie Fred Jahn, Munich Acquired from the above by the late owner in October 1989 Exhibited London, Runkel-Hue-Williams Ltd; London, Grob Gallery, Georg Baselitz. Paintings. Bilder 1962-1988, 19 September - 2 November 1990, pp. 22, 23, 68 (illustrated, p. 23) Southampton City Art Gallery; Manchester City Art Galleries; Hull, Ferens Art Gallery; London, Whitechapel Art Gallery, Drawing the Line, 13 January - 10 September 1995, no. 11, pp. 62, 105 (illustrated, p. 62)

‘His discovery in Florence of the Mannerist paintings and prints of artists such as Parmigianino (1503-40), Rosso Fiorentino (1494-1540) and Pontormo (1494-1557) became a crucial infuence, due to the elongated, emotionally charged fgure types, but also through the importance of printmaking for sixteenth-century artists.’ (John-Paul Stonard, Germany Divided Baselitz and his generation from the Duerckheim Collection, London, 2014, p. 36)

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Executed at a pivotal moment during the artist’s prolifc oeuvre, Jäger mit Hund is an arresting example of Georg Baselitz’s visceral experiments with line and form, an enquiry that not only shaped but defned post-war German art. Created in 1967, the present work on paper demonstrates Baselitz’s mastery of graphite to convey the vitality of his fragmented microcosms, his compositions intricately weaved with formal complexities. Selected for Michael Craig-Martin’s curated touring exhibition Drawing the Line, the present work travelled through major British institutions such as Manchester City Art Galleries to Whitechapel Art Gallery in 1995, chosen as a triumph of twentieth century drawing. Defly able to encapsulate anxiety and frantic energy in his splintered compositions, Baselitz’s Jäger mit Hund interweaves the varying segments of scattered forms into a synergy of line and medium. Subsuming us into his disordered world, Baselitz expertly traverses fguration and abstraction in the present ruptured composition of a hunter and his dog, an important piece from the Karshan collection. A key work from his graphic output, Jäger mit Hund is an exemplary work on paper from Baselitz’s Frakturbilder series, a body of work that the artist commenced upon his move to the rural village Osthofen in the Rheinland Palatinate with his family in 1966. Baselitz embarked on a number of formal experimentations with paintings, woodcuts and works on paper, manipulating the appearance of his earlier series of Helden, his fallen heroic fgures, and incorporating rural motifs such as dogs, hunters, cows and woodsmen. In the present work, a hunter to the right of the composition stands before an unidentifed building, gazing away from the scene as his dog crouches to the lef. Frenetic and repeated lines overlap and intersect, appearing both purposeful and incidental in their execution. Tears, rips and contusions smash the pictorial plane into a crystalline formation, while cross hatched graphite areas

interlock with familiar forms. Evoking rural scenes of pastoral nostalgia, Baselitz’s Frakturbilder plunge us into allegorical worlds of hunters, animals and village scenes, each containing a twisted narrative, which transcend time and place. Baselitz’s pastoral surroundings provided visual stimuli for his fractured idylls; the rustic subject matter utilised by Baselitz evokes idyllic imagery which refers to the ethnic ideology supported by National Socialist cultural policy. In Jäger mit Hund, Baselitz builds a layered visual syntax that refers to notions of sentimentality, German folkloric tradition and the politicisation of art within National Socialist rhetoric. Baselitz’s hunter and dog are not solely showcased as quintessential symbols of German rural life. Instead, through his splicing and disfguring of these motifs, Baselitz references the usage of these tropes during National Socialism and also questions their associations in post-war German culture. Mirroring the dislocation of Germany post-war, a country dissected into zones and divided by deep fssures, voids and wounds, the composition in Jäger mit Hund is sectioned and seemingly in disarray, with pencil strokes of billowing smoke appearing to rise amidst the scorched scene. Jagged edges blend and dissolve into new twisted objects; in the present work severed limbs are isolated and amputated from their bodies, littering the foor of the scene. Exploring notions of violence and destruction, Baselitz selected lone body parts and placed them at the forefront of his subject matter in his earlier 1960 to 1963 series of Pandemonium works, as evident in his evocative P. D. Fusse (1960 -1963). Infuenced by Théodore Géricault's studies of body parts in preparation for his harrowing masterpiece, The Raf of the Medusa (1818-19), Baselitz’s autopsical paintings and Frakturbilder not only refer to the atrocities of the Holocaust and the physicality of warfare, but also the splintering of German cultural identity in the wake of Stunde Null.

Jean-Louis André Théodore Géricault Study of Feet and Hands c.1818–19, oil on canvas Musée Fabre, Montpellier, France. Image: Bridgeman Images

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Georg Baselitz in his studio in Osthofen 1967 with The Big Night Down the Drain, 1962-63 Three Stripes the Hunter, 1967, and Three Heads with Snail, 1966 © Elke Baselitz 2018

Drawing infuence from Antonin Artaud’s Theatre of Cruelty in his Frakturbilder, Baselitz focuses on organising and ordering the disordered through a selection of subtle gestures, accentuation and movements, which draw in and integrate the viewer. Fractured by compositional rifs, the present work is interlaced with order then conversely displacement, a visual culmination of a country ruptured by National Socialist rule. In Jäger mit Hund, and evident throughout his Frakturbilder series, Baselitz sought to experiment with the representation of German cultural identity through the depiction of his forlorn Hero fgures. In the present work, the hunter has become the hunted. His right arm is suspended independently from his body as scattered stray objects, which appear to be limbs, impede his path. A fallen body lies to his lef, while a pouncing dog gnaws the lef arm in its locked jaws. The corpse’s blank and lifeless face echoes the horror encapsulated in Baselitz’s totemic and otherworldly Oberon fgures. Infuenced by the style of the Mannerist painters, Baselitz’s fgures appear almost anthropomorphically distorted, their heads swollen and their thick squared bodies face the viewer defantly; the slight bend of the hunter’s limbs and posture radiates with both stoicism and fragility. Standing alone against the discordant backdrop, Baselitz’s hunter remains solemn with his downturned mouth, standing to attention rather than in the midst of a hunt. Refective 31

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and battle weary, a discarded limb appears to grab at the hunter’s leg anchoring him to the foor. Questioning both masculinity and heroism in Germany following the end of World War Two, Baselitz’s male hunter transcends classical notions of typifed heroism, as celebrated under National Socialism, and instead presents a more complex symbol of identity in a divided Germany. As exemplifed in Jäger mit Hund, Baselitz’s multi-layered and complex compositions appear to shif shape with the movement of the onlooker. By infracting compositional elements in the present work, so Baselitz destroys the narrative of his scene, inviting the viewer to explore and piece together both visual peculiarities and recognisable elements, rebuilding their own individual associations through the movement of varying forms. By fracturing his subjects in Jäger mit Hund Baselitz does not destroy any of their materiality or subject matter, rather he displaces it momentarily, never losing the connection between the varying parts. For example, the arm of the hunter visually remains part of his bodily corporeality, despite levitating to his lef, positioned at an awkward and unnatural angle. It is this masterful ability to create and build a visual dialogue between the viewer and the work, whilst presenting a scene of apparent destruction, which establishes Baselitz’s artistic practice as one of the most important voices in German post-war art. Property from the Estate of Howard Karshan

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Cy Twombly

1928-2011

Sperlonga drawing signed and dedicated ‘to Turcato, Cy Twombly’ lower right oil-based house paint, pencil and wax crayon on paper 70 x 100 cm (27 1/2 x 39 3/8 in.) Executed in 1959. Estimate £350,000-550,000 $452,000-711,000 €389,000-612,000 ‡ Provenance Giulio Turcato, Rome Anthony d’Ofay Gallery, London Acquired from the above by the late owner in July 1996 Literature Nicola Del Roscio, CY TWOMBLY. Catalogue Raisonné of Drawings, vol. 2, 1956 - 1960, Munich, 2012, no. 142, p. 176 (illustrated)

‘Twombly’s ‘drawings from Sperlonga though, initiated a more paradoxical combination of elements, which would inform Twombly’s paintings for years thereafter.’ Kirk Varnedoe

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Cy Twombly in Sperlonga, 1959 Photo: Tatia Twombly, Rome.

Gesturally rendered in paint, crayon and graphite on paper, Cy Twombly’s Sperlonga drawing, executed in 1959, belongs to a succinct body of work which the artist commenced during his summer stay in the Italian seaside town inbetween Naples and Rome. Gifed to the esteemed artist Giulio Turcato, who, in 1958, had been honoured at the Venice Biennale with a curated room at the 29th Esposizione Internazionale d’Arte della Città di Venezia, the present work on paper was created in Sperlonga the year following Turcato’s exhibition and has been housed in the Karshan collection since 1996. Marking a pivotal moment in Twombly’s personal life, the artist’s body of Sperlonga works are integral when looking at the artist’s wider oeuvre and represent a key turning point in his artistic development, with notable examples represented in major public and private international institutions. Transporting us to the coast of Italy the present work is charged with the sublime light of the Mediterranean, evoking the landscape of the fshing village on the Tyrrhenian sea. Having frst travelled to Europe in 1952 visiting both Naples and Rome and then again in 1957, Twombly married Luisa Tatiana Franchetti at New York City Hall in April 1959. Soon integrated into her network of European and Italian friends and relatives, Twombly travelled to Rome in June with his new wife, embarking on a life-long fascination with the country. Twombly rented an apartment in the small fshing village of Sperlonga with Franchetti who was expecting the couple’s child. Famed for its ancient Roman history, a sea grotto was discovered on the grounds of the villa of Tiberius in 1957, two years prior to the execution of the present work, unveiling a series of exquisite carved marble sculptures that captured narratives from Homer’s Odyssey. Set into a rocky hollow, these magnifcent white Sperlonga marbles are a celebration of the Hellenistic style and showcase an artistic culmination of art and nature. Creating around thirty-two mixed media drawings and A Tale of Two Cities

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nineteen collages during this summer as well as his twenty-four part Poems to the Sea, Twombly’s rich corpus of Sperlonga works toyed with negative space, exposing large areas of open paper within the composition, evocative of the fresh sea breeze and expanse of sky. Integrating dashes, circles, symbols and numbers into his Sperlonga drawing, the present work showcases Twombly’s progressive experimentation with visual syntax and markmarking. Through his delicate and bold strokes, Twombly’s Sperlonga drawings mark this juncture and also celebrate the rhythmic tide and power of the Tyrrhenian sea. Infuenced by the poetry of Symbolist Stéphane Mallarmé, whose use of white space, blanks and cadent marks toyed with typography, Twombly’s Sperlonga drawings allude to Mallarmé’s shipwreck poem Un Coup de Dés, channelling a literary poesy in visual form. As noted by Kirk Varnedoe, Twombly’s ‘drawings from Sperlonga though, initiated a more paradoxical combination of elements, which would inform Twombly’s paintings for years thereafer. The pencilwork introduced a family of “rationalized”, diagrammatic elements … sequences of numbers; circles and repeated semicircles; and clusters of forms that suggest overhead, plan views of unknown arrangements.…The resultant drawings – with their long horizontality, dispersed and ofen miniaturized signs, and references to rational mapping – seem to join the Poems to the Sea in opening up a new, specifcally landscape-like space in Twombly’s work’ (Kirk Varnedoe, ‘Inscriptions in Arcadia’, in, Cy Twombly: A Retrospective, exh. cat., Museum of Modern Art, New York, 1994, p. 31-32). With its white washed walls and sun bleached buildings, Sperlonga provided a stimulating palette for Twombly’s experimentations with colour and form. In the same way that Twombly’s contemporary Robert Ryman utilised a largely white palette, so Twombly sought to fnd tonal variation in the palest of white paint application. 34

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Evoking Mallarmé’s white poetic blanks as well as the break and crest of the waves, Twombly’s white swathes and daubing of thick white paint applied in horizontal strokes and droplets, mirror the sea swell on the horizon as well as pools of collected gleaming water. Remarking on the intrigue of white, Twombly refected ‘The reality of whiteness may exist in the duality of sensation (as the multiple anxiety of desire and fear). Whiteness can be the classic state of the intellect, or a neoromantic of remembrance- or as the symbolic whiteness of Mallarmé’ (Cy Twombly, ‘Documenti di una nuova fgurazione: Toti Scialoja, Gastone Novelli, Pierre Alechinsky, Achille Perilli, Cy Twombly’, in L’Esperienza moderna, no. 2, August – September 1957, p. 32). The efect of the Mediterranean would have a profound efect on the artist’s work from this point onwards, integrating its wealth of ancient history, art and mythology into his varied practice. As Barthes comments on Twombly’s work, ‘The Mediterranean is an enormous complex of memories and sensations: certain languages (Greek and Latin) which are present in Twombly’s titles, a historical, mythological, poetic culture, this whole life of forms, colors

and light which occurs at the frontier of the terrestrial landscape and plain of the sea. The inimitable art of Twombly consists in having imposed the Mediterranean efect while starting from materials (scratches, smudges smears, little color, no academic forms) which have no analogy with the great Mediterranean radiance’ (Roland Barthes, ‘The Wisdom of Art’, in Cy Twombly. Paintings and Drawings 1954 – 1977, exh. cat., Whitney Museum of American Art, New York, 1979, p. 16). An essential cornerstone of Twombly’s body of work, the summer spent in Sperlonga in 1959 established a central shif in the artist’s output and personal life. With his marriage in spring and the birth of his son in December of 1959, Twombly’s exploration of medium and form unite in the present work, a visual celebration of the Mediterranean landscape, lyricism and history. Returning to Sperlonga in 1963 to revisit the town which had proved so infuential to his practice, Twombly’s fascination with mythology and poetry is evident throughout his infuential oeuvre which was shaped by the artist’s experiences that summer in 1959.

Cy Twombly’s Poems To The Sea, 1959, oil-based house paint, pencil and wax crayon on paper, in twentyfour parts, Private Collection. © Cy Twombly Foundation

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Gerhard Richter

b. 1932

Hände signed, numbered and dated ‘12 Richter 63’ on the reverse oil on canvas, in artist’s frame 30.9 x 45.9 cm (12 1/8 x 18 1/8 in.) Painted in 1963. Estimate £2,000,000-3,000,000 $2,590,000-3,880,000 €2,220,000-3,340,000 ♠ Provenance Galerie Bernd Lutze, Friedrichshafen Galerie Paul Maenz, Cologne Private Collection, Cologne Anthony d’Ofay Gallery, London Acquired from the above by the late owner in July 1994 Exhibited Friedrichshafen, Galerie Bernd Lutze, Gerhard Richter: Bilder und Druckgraphik 1962-1978. Teil II, 16 March - 26 May 1979 Friedrichshafen, Galerie Bernd Lutze, Gerhard Richter: Bilder und Druckgraphik 1962-1978. Teil I, 9 May - 23 June 1979 Literature Gerhard Richter 36. Biennale di Venezia, exh. cat., German Pavilion, 1972, no. 12, p. 37 1945-1985: Kunst in der Bundesrepublik Deutschland, exh. cat., Neue Nationalgalerie, Staatliche Museen zu Berlin, 1985, p. 248 Gerhard Richter: Bilder Paintings 1962-1985, exh. cat., Städtische Kunsthalle Düsseldorf; Nationalgalerie Berlin, Stifung Preußischer Kulturbesitz; Kunsthalle Bern; Vienna, Museum Moderner Kunst/ Museum des 20. Jahrhunderts, 1986, no. 12, pp. 6, 357 (illustrated, p. 6) Benjamin Buchloh, ed., Gerhard Richter Werkübersicht Catalogue raisonné 1962-1993, vol. III, Ostfldern-Ruit, 1993, no. 12, pp. 7, 148 (illustrated, p. 7) Dietmar Elger, Gerhard Richter Catalogue Raisonné, Vol I, nos. 1-198, 1962-1968, Ostfldern-Ruit, 2011, no. 12, p. 68 (illustrated)

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Hände, Gerhard Richter’s characteristically blurred composition is a striking early epitome of the artist’s iconic and technically astute photo realist paintings of the 1960s. Synthesising photography and painting, through his graceful grey hues and use of sfumato, Richter presents a new perspective on perception and the validity of visual representation. The present work captures the allegorical nature of an ephemeral moment in time and anticipates the artist’s large-scale photo paintings and abstract works such as Onkel Rudi (Lidice Collection, Lidice) and Grau (Museum Wiesbaden). Having fed East Germany, in 1961 Richter enrolled at the Kunstakademie Düsseldorf where he was exposed to strands of pre-and post-war western modernism. Following his move from the East, Richter’s marked change in style, from Social Realism and towards photo realistic painting, saw the artist working on increasingly abstract compositions such as Tisch, 1962 (Harvard Art Museum, Boston) and Wunde 16, 1962. This transition culminated in 1962, when Richter ‘started to paint like crazy, from fgurative to abstract.’ He notes ‘afer a year, I put it all on a bonfre in the courtyard of the academy…I felt the work had to be burned because people were already taking things and paintings were starting to circulate. I had to prevent that because I realized it was time to start from scratch. Photographs were the way forward’ (Gerhard Richter, quoted in Michael Kimmelman, ‘Gerhard Richter: An Artist Beyond Isms’, New York Times Magazine, 27 January 2002, p. 44). In Dusseldorf, surrounded by the originality and dialogue of fellow co-founders of the Capitalist Realist movement, namely Sigmar Polke, Konrad Lueg (later Konrad Fischer), Manfred Kuttner, Joseph Beuys and the artists of the confrontational Fluxus movement, Richter was engrossed with provocative narratives. ‘It [Fluxus] inspired me to try out some real nonsense, like copying photographs in oil paint’ (Gerhard Richter and Dorothea Dietrich, 'Gerhard Richter. An Interview', in, The Print Collector’s Newsletter, September/October, 1985).

Thus, between 1962 and 1968 Richter became concerned with pursuing a practice centred around photographic source imagery. Working from pre-existing images, in 1962 Richter painted his prominent canvas, Tisch, which he placed frst in his catalogue raisonné. This painting began as an accurate reproduction of a Gardella table from Domus magazine; Richter ‘was dissatisfed with the result and pasted parts of it over with newspaper...then suddenly it acquired a quality which appealed to me and I felt it should be lef that way, without knowing why’ (Gerhard Richter, quoted in Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, London, 2009, p. 259). A collision between the fgurative ground and the abstract motif, Tisch precedes the artist’s later abstract compositions and is exemplary of the artist’s characteristically critical approach to creation and the interrogation of photography within his practice. An intimate portrait or an appropriated image, in Hände Richter presents the viewer with two blurred, unidentifed hands. Considered one of the oldest motifs in the history of art, both as a central tool to creation and as a focus of representation, Richter confronts the onlooker with the most familiar of themes. Recalling the motif central to German printmaker, painter and theorist Albrecht Dürer’s Praying Hands, a singular icon in the sphere of Western art, the present work is meticulously executed. Both works, executed over 500 years apart, are intensifed and heightened through the artist’s use of a monotone palette, the white pigment allowing each set of hands to glow with translucence. More recently, in the realm of American Conceptual artist Bruce Nauman’s creative sphere, disembodied hands frozen in various positions have continued the dialogue with the expressive potential of Dürer’s motif. Here, however, Richter projects the recognisable silhouette into a seemingly unreachable distance or illusion. Through blurring the surface of the hands in tones of grey blue, the artist assumes the image and instils it with meaning; extracting the anatomical subject from its generic type, the composition is particularised.

Gerhard Richter Tisch, 1962, oil on canvas Harvard Art Museum, Boston © Gerhard Richter 2018

‘I’m not trying to imitate a photograph; I’m trying to make one. And if I disregard the assumption that a photograph is a piece of paper exposed to light, then I am practising photography by other means: I’m not producing paintings that remind you of a photograph but producing photographs.’ Gerhard Richter

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Cueva de las Manos, circa 7300 BCE, Argentina.

The quasi-transparent plane, rendered in grisaille, is reminiscent of a photographic negative. Evocative of early chemical photographic processes, the image fades into the ground; the blurriness not representing the inadequacy of the technical process but rather the tool through which the artist highlights the space between an image of reality and reality itself. ‘I can make no statement about reality clearer than my own relationship to reality; and this has a great deal to do with imprecision, uncertainty, transience, incompleteness, or whatever’ (Gerhard Richter und Rolf Schön, 'Unser Mann in Venedig,' Deutsche Zeitung, 14 April 1972, p. 13).

Bruce Nauman Fifteen Pairs of Hands (detail), 1996, bronze © Bruce Nauman / Artists Rights Society (ARS), New York and DACS, London 2018.

Painted when photography was a crucial political tool, used to spin ideological fctions into truths in East and Western Germany, Richter critically examines the power of both painting and photography, using the power of photographic imagery to expose the fssures between ideology and reality. Capturing the contradictions inherent in Cold War imagery, Richter unveils how documented images can mean everything and nothing at the same time. Interrogating the tension between photography and the painted image, Richter observes ‘Photos were regarded as the truth, paintings as artifcial. The painted picture was no longer credible; its representation froze into immobility, because it was not authentic but invented… a photograph is the most perfect picture. It does not change; it is absolute, and therefore autonomous, unconditional, devoid of style’ (Gerhard Richter, quoted in Gerhard Richter Texts, Writings, Interviews and Letters, 1961 - 2007, New York, 2009, p. 30). Moving a dry brush across the surface of his wet painted canvas, Richter clouds the surface and instils the work with a certain anonymity and enigma, forging a void between photography, reality and painting. 39

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Commenting on the significance of his limited palette throughout the 1960s Richter notes: ‘it was more unusual, back then, to create black-and-white oil paintings, and more real, because all the newspapers, the daily diet of photographic material, including television, was black and white…That’s why it imbued a sense of reality into painting that represented something completely new...black-and-white photography has managed to retain a unique quality; the F.A.Z. [Frankfurter Allgemeine Zeitung] still uses black-and-white photographs, even if the majority would probably prefer them to be in colour’ (Gerhard Richter, ‘Interview with Babette Richter, 2002’, Gerhard Richter Texts, Writings, Interviews and Letters, 1961 – 2007, London, 2009, p. 442).

‘I blur to make everything equal, everything equally important and equally unimportant.’

Having encountered Pop Art in 1961, Richter described Roy Lichtenstein and Andy Warhol’s work as ‘extremely inartistic’ comic adaptions, emphasising the importance of defamiliarising and reworking the photographic motif when rendering it in paint. Departing from his earlier critique, however, in 1963 Richter specifcally underlined the ‘un-artistic’ character of his new paintings, recognising the artistic quality of Lichtenstein and Warhol's work (Gerhard Richter and Irmeline Lebeer, 'Gerhard Richter ou La réalité de l'image', in Chroniques de l'art vivant, February 1972). Evocative of Warhol’s synthesis of fgurative and abstract painting, seen in Icebox , 1961 (Menil Collection, Houston), and Water Heater, 1961 (Museum of Modern Art, New York), in the present work Richter subtly and elegantly blurs the distinction between painting and graphic photographic representation ‘Warhol showed me this modern way of letting details disappear, or at least he validated its possibilities’ (Gerhard Richter and Robert Storr, 'Interview with Gerhard Richter', Gerhard Richter. Forty Years of Painting, exh. cat., The Museum of Modern Art, New York, 2002, p. 295). Further discussing the infuence of Pop Art, the artist notes ‘…I am pursuing something which in a certain way resembles the most recent movement: Pop art’ (Gerhard Richter in an unpublished letter to Helmut and Elrika Heinze, 10 March 1963, Gerhard Richter Archive, Staatliche Kunstsammlungen Dresden).

Gerhard Richter

Albrecht Dürer Praying Hands, 1508 brush, ink and wash, Albertina, Vienna Image: Bridgeman Images

Addressing the contemporaneous perception that painting had sufered a loss of relevance amidst the rise of modern photography, Hände shares qualities with photography whilst maintaining the potency of the painted image. Together with his abstract works of the 1970s, Richter’s photo paintings are considered some of the most fundamental contributions to the canon of art history. Forming the basis for his later abstract work, based upon the abstraction of photographic detail, Richter foregrounds photography’s inherent equivocality. Richter’s Hände is an allegorical synthesises of the painted and the photographic image, astutely recreating a photograph whilst leaving the painterly process at the foreground of the composition. Intensifying the tension between the two mediums, reality and fction, fguration and abstraction, in the present composition Richter’s central motif becomes the discrepancy between reality itself and the illusion of this reality - as we perceive and replicate it.

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Gerhard Richter

b. 1932

Busch (Scrub) signed, titled and dated ‘BUSCH Richter 1985’ on the reverse oil on canvas 65.2 x 80.2 cm (25 5/8 x 31 5/8 in.) Painted in 1985. Estimate £800,000-1,200,000 $1,030,000-1,550,000 €890,000-1,330,000 ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner Exhibited New York, Museum of Modern Art; The Art Institute of Chicago; San Francisco Museum of Modern Art; Washington D.C., Hirshhorn Museum and Sculpture Garden, Gerhard Richter: Forty Years of Painting, 14 February 2002 - 20 May 2003, pp. 71, 197 (illustrated, p. 197) Literature Gerhard Richter: Bilder Paintings 1962-1985, exh. cat., Städtische Kunsthalle Düsseldorf; Nationalgalerie Berlin, Stifung Preußischer Kulturbesitz; Kunsthalle Bern; Vienna, Museum Moderner Kunst/ Museum des 20. Jahrhunderts, 1986, no. 572-7, pp. 401, 318 (illustrated, p. 318, titled Busch (Skizze). Boskage (Sketch), p. 401) Benjamin Buchloh, ed., Gerhard Richter Werkübersicht Catalogue raisonné 1962-1993, vol. III, Ostfldern-Ruit, 1993, no. 572-7, p. 178 (illustrated, n.p.) Siri Hustvedt, ‘Double Exposure’, in Modern Painters, Summer 2002, p. 53 (illustrated) Robert Storr, Gerhard Richter, Malerei, Ostfldern, 2002, p. 197 (illustrated) Robert Storr, Gerhard Richter: Doubt and Belief in Painting, New York, 2003, p. 112 Dietmar Elger, ed., Gerhard Richter: Landscapes, Ostfldern, 2011, p. 23 Dietmar Elger, Gerhard Richter Catalogue Raisonné, vol. III, nos. 389 - 651-2, 1976-1987, Ostfldern-Ruit, 2013, no. 572-7, p. 448 (illustrated)

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Busch, a frenzy of painterly abstraction, is a prominent composition from Gerhard Richter’s abstract practice. The tactile terrain, composed of a maelstrom of earthy brushstrokes, is a celebration of the artist’s masterful gestural and colouristic intervention. The bold, rich streaks of impasto embody Richter’s career long investigations into the formal possibilities of painting, one of the most extensive enquiries into the bounds of abstraction. Having taken his frst steps towards abstraction in 1961-62, following his move from East to West Germany, Richter’s painterly style shifed radically from Social Realism and towards photo realistic painting. Stimulated by the debates of his fellow Capitalist Realist artist’s, Sigmar Polke, Konrad Lueg (later Konrad Fischer), Manfred Kuttner and Joseph Beuys, Richter wanted to ‘start from scratch’ (Gerhard Richter, quoted in Michael Kimmelman, ‘Gerhard Richter: An Artist Beyond Isms’, New York Times Magazine, 27 January 2002, p. 44) and destroyed almost all his work in a bonfre in the courtyard of the Kunstakademie Düsseldorf. Anticipating his later abstract paintings such as the present work, in 1962 Richter painted his seminal canvas, Tisch (Harvard Art Museum, Boston), which he later placed frst in his catalogue raisonné, despite the fact that this was chronologically inaccurate. A key stone to his abstract experimentations, Tisch was painted afer an image of an Italian table from Domus magazine.

Unhappy with his representation, the artist re-worked the canvas and dissolved the motif in an expressive swirl of colour, allowing the fgurative ground and abstract gesture to collide. Demonstrating a shif in Richter’s abstract practice, the present work, from 1985, allows the flms of paint to become more visible. In the 1980s he began to build up rich layers of gestural and skilfully applied colour, obliterating the illusionistic underpainting evident in his earlier abstract work the artist allows the surface to come alive with artistic resonance. Identifying abstraction as his ultimate artistic goal, in his notes from 1964-65 Richter elucidates ‘all that interests me is the grey areas, the passages and tonal sequences, the pictorial spaces, overlaps and interlockings. If I had any way of abandoning the object as the bearer of this structure, I would immediately start painting abstracts’ (Gerhard Richter, quoted in Gerhard Richter: Text : Writings, Interviews and Letters, 1961-2007, New York, 2009, p. 34). Regarding his earlier photo paintings as a temporary solution, in 1965 the artist began honing in on details, for example the curtains in the background of his painted photographic portraits in Vorhang III (hell), 1965 (Neue Nationalgalerie, Berlin). Isolating abstract details and allowing his works to become more gestural, such as Parkstück, 1971 (Museum Moderner Kunst, Vienna), he allowed the abstraction to become his painterly motif.

Gerhard Richter, Parkstück, 1971 oil on canvas, in 5 parts Museum Moderner Kunst, Vienna © Gerhard Richter 2018

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‘In abstract painting we have found a better way of gaining access to the unvisualizable, the incomprehensible.’ Gerhard Richter

Albrecht Altdorfer, Mountain Range, c.1530 oil on panel, Tokyo Fuji Art Museum, Tokyo Image: Bridgeman Images

Representing Richter’s fundamental scepticism toward political dogma, Busch, envelops the onlooker into an autumnal tempest amidst the artist’s technically astute painterly investigations. Bridging the formal distinctions between abstraction and figuration, in Busch a seemingly abstract surface, brought to life through layers of impastoed green paint, is ascribed a naturalistic reading through the artist’s choice of title, translating to Scrub. Refecting on the synthesis between abstract and realist painting, the artist notes: ‘Experience has proved that there is no diference between a so-called realist painting – of a landscape for example – and an abstract painting. They both have more or less the same efect on the observer’ (Gerhard Richter, quoted in Gerhard Richter and Irmeline Lebeer, Gerhard Richer ou La réalité de l’image, Chroniques de l’art vivant, February, 1972). Solemn contrasts of green and violet instil the composition with the atmospheric palette of the Northern Renaissance masters, evoking the sombre glory and naturalistic hues of Albrecht Dürer, Albrecht Altdorfer and Mathias Grünewald. Resonating with northern light, the palpable strokes of colour alternate between the heavy darkness and crystalline brightness of Northern Europe. Drawn to chance procedures and the randomness of gesture, Richter’s abstract compositions exemplify the power of his artistic legacy and his ultimate command of the painterly medium. Borrowing John Cage’s anarchic epithet, Richter stated, ‘I had nothing to say and was saying it’ (Marthe Lisson, ‘Gehard Richter’, ShirnMag, 15 September 2014). Richter’s technically astute mastery of the painterly medium, paired with the hues and calibrated tones of his Abstract works, have rooted Gerhard Richter as one of the fnest colourists of the twentieth century. 45

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Property from the Estate of Howard Karshan

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Sigmar Polke

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20th Century & Contemporary Art Evening Sale London, 5 October 2018 20th Century & Contemporary Art Day Sale London, 4 October 2018 Editions & Works on Paper New York, 17 October 2018 20th Century & Contemporary Art Day Sale New York, November 2018 New Now London, December 2018 New Now New York, March 2019

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Gerhard Richter

b. 1932

Ohne Titel (24.4.89) signed and dated ‘Richter 24.4.89’ centre right oil on photograph 10.2 x 15.2 cm (4 x 5 7/8 in.) Executed in 1989. Estimate £25,000-35,000 $32,200-45,000 €27,700-38,800 ‡ ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in September 1990 Literature www.gerhard-richter.com, Catalogue Raisonné, online A Tale of Two Cities

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Gerhard Richter

b. 1932

Ohne Titel (4.1.89) signed and dated ‘Richter 4.1.89’ upper right oil on photograph 12.7 x 17.8 cm (5 x 7 in.) Executed in 1989. Estimate £25,000-35,000 $32,200-45,000 €27,700-38,800 ‡ ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner Literature www.gerhard-richter.com, Catalogue Raisonné, online

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Property from the Estate of Howard Karshan

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Georg Baselitz

b. 1938

Geteilter Held (Divided Hero) signed and dated ‘G Baselitz 66’ lower right; further signed, inscribed and dated ‘Baselitz, Tüte” 1966’ on a label afxed to the reverse ink, graphite and wash on paper 31.8 x 21 cm (12 1/2 x 8 1/4 in.) Executed in 1966. Estimate £120,000-180,000 $154,000-232,000 €133,000-200,000 ‡ ♠ Provenance Wide White Space Gallery, Antwerp Galerie Thomas Borgmann, Cologne Galerie Fred Jahn, Munich Acquired from the above by the late owner in November 1991

Plumes of smoke billow into the etched sky, merging and dissecting from the surrounding forms. Ghostly swathed legs cross the barren terrain in the fractured lower half. Baselitz’s works on paper from this series ofen informed his larger works on canvas. Despite the ofen colourful execution and charged broad brushstrokes of the large works on canvas commanding immediate direct focus, the tangibility of his works on paper have a powerful intimate quality through their relatable scale.

The present selection of works on paper outline the crucial and poignant developments of the artist’s early output. Consumed by notions of violence and devastation, Georg Baselitz expressively inverted the symbols of Germanic tradition as visible in Ohne Titel (Kreuz), 1960, where the cross, hovering above a smoking cauldron-like vat perhaps alludes to a country divided by National Socialist rule. The skeletal face, disjointed from any clear context in Morgenstunde, 1962 preliminarily introduces Baselitz’s Helden (Heroes) series.

In 1969, Baselitz started painting his works upside down, fundamentally shattering any conventional assumptions about the subject by removing it from its context. ‘Painting is not a means to an end,’ stated Baselitz, ‘on the contrary; painting is autonomous. And I said to myself: if this is the case, then I must take everything which has been an object of painting –landscape, the portrait and the nude, for example –and paint it upside– down. That is the best way to liberate representation from content’ (Georg Baselitz, quoted in Georg Baselitz, exh. cat., Guggenheim Museum, New York, 1995, p. 71). Unhinging and disjointing trees, terrains and fgures, Baselitz wrestles with the recognition that it would never be possible to see the world in the same way again. Ohne Titel, circa 1973, demonstrates the artist’s technique of successfully segregating the subject from its pre-conceived associations. Taken out of its landscape setting, the solid vertical body of the tree trunk, executed in felt tip pen, is contrastingly shadowed by a delicate and graceful ink outline. For Baselitz, these works, irrespective of their subject matter, were fundamentally self–projections: symbols of his own lonely place as an artist in a destabilized world. ‘Everything is a self–portrait, whether it’s a tree or a nude… It’s how the artist sees it … Everything that you see is a refection of yourself’ (Georg Baselitz, quoted in, Marla Auping ‘Georg Baselitz: Portraits of Elke’, in Georg Baselitz: Portraits of Elke, exh. cat., Modern Art Museum, Fort Worth, 1997–1999, p.15).

A vividly powerful drawing from Baselitz’s Frakturbilder (Fracture Pictures) series (1965-66), Geteilter Held, 1966, expressively depicts Baselitz’s fallen heroic fgures incorporating his prestigious Helden (Heroes) motif. Divergent to the aggressive, frenetic directness of the black ink lines, turning away from the viewer, the fgure conveys resignation and vulnerability, undeniably haunted by the war years.

This selection of works from the collection of Howard Karshan encapsulate Baselitz’s early compositional and contextual explorations during an intensely experimental period for the artist. The fractured narrative alters the viewers experience, powerfully demonstrating Baselitz’s ability to confront historical realities and depict them in a fresh, unique manner.

Exhibited Antwerp, Wide White Space Gallery, Georg Baselitz: Tekeningen en Schilderijen, 6 November - 5 December 1970, no. 15 (titled Tüte) Munich, Kunsthalle der Hypo-Kulturstifung; Edinburgh, Scottish National Gallery of Modern Art; Vienna, Museum Moderner Kunst Stifung Ludwig, Georg Baselitz: Retrospektive 1964-1991, 20 March - 13 September 1992, no. 53, n.p. (illustrated)

Born in 1938, Baselitz came of age in the tumultuous period following World War II. Moving from East to West Germany before the building of the Berlin Wall, his artwork is heavily informed by the fractured sense of identity inherent in Germany as a country and as a nation.

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Property from the Estate of Howard Karshan

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Georg Baselitz

b. 1938

Ohne Titel (Kreuz) (Untitled (Cross)) signed with the artist’s initials and dated ‘GB 60’ lower lef; further signed, titled and dated ‘G. Baselitz Kreuz 1960’ on the reverse ink, wax crayon and watercolour on paper 35.6 x 24.4 cm (14 x 9 5/8 in.) Executed in 1960. Estimate £40,000-60,000 $51,500-77,200 €44,400-66,600 ‡ ♠

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Provenance Private Collection, Munich Schönewald Fine Arts, Xanten Galerie Fred Jahn, Munich Acquired from the above by the late owner in 2003 Exhibited New York, Zwirner & Wirth, Back to Georg Baselitz: Paintings & Drawings from the 1960’s, 19 September - 2 November 2002

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Georg Baselitz

b. 1938

Morgenstunde (Morning Hour) signed with the artist’s initials and dated ‘G.B. 62’ lower right; further titled and dated ‘Morgenstunde 62’ on the reverse ink and ink wash on paper 31.8 x 24.4 cm (12 1/2 x 9 5/8 in.) Executed in 1962. Estimate £40,000-60,000 $51,500-77,200 €44,400-66,600 ‡ ♠

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Provenance Private Collection, Munich Schönewald und Beuse, Xanten Galerie Fred Jahn, Munich Zwirner & Wirth, New York Acquired from the above by the late owner Exhibited New York, Zwirner & Wirth, Back to Georg Baselitz: Paintings & Drawings from the 1960’s, 19 September - 2 November 2002

Property from the Estate of Howard Karshan

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Gerhard Richter

b. 1932

Ohne Titel signed and dated ‘Richter, 1972’ lower right; further signed, titled and dated ‘Richter, 1972 Richter, 1972 “Ohne Titel”’ on the reverse oil on card laid on canvas 61.5 x 86 cm (24 1/4 x 33 7/8 in.) Executed in 1972, this work is accompanied by a certifcate of authenticity from the Gerhard Richter Archiv, Dresden Estimate £180,000-250,000 $232,000-322,000 €200,000-277,000 ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in September 1992

Gerhard Richter’s Ohne Titel is an impressive example from the artist’s Vermalung (In-painting) series from 1972. The Vermalung series developed in sequence to Richter’s photo– paintings, having frst covered a photorealist image with swirls of grey pigment in Tisch, 1962. Throughout these paintings and in a similar vein to his chance–based reasoning of the displacement of colours in his colour charts, Richter discarded all premeditated subject matter, composition and colour, creating works of art that almost developed by themselves.

wonderfully we see the physicality of the hand of the artist, dragged diagonally through the paint, partially disrupted by a determined horizontal brushstroke. The fuid interplay between dancing narrower strokes interspersed, and in places interrupted, by broader brushstrokes form a combination of dense thatch and fat planes where there is no fxed point of view. The eye is lef to wander over a surface which is alive. Richter’s Vermalung technique originated from his landscape series; thick impasto was applied to create the branches of trees and foliage, subsequently delineating and obfuscating the image beneath. Moving away from the photographic source of his previous works, ‘in–painting’ signifed a painterly response by the artist to explore the opportunities that resulted from his own method of painting. Richter would cover his canvases by merging the black and white pigments in a pattern of looping interwoven and meandering brushstrokes, uniting the tones in a single monochrome colour. Richter spoke of his technique, writing that he ‘applied the paint in evenly spaced patches, or blobs, on the canvas. Not following any system at all, there were black and white blobs of paint, which I joined up with a brush until there was no bare canvas lef uncovered and all the colour patches were joined up and merged into grey. I just stopped when this was done’ (Gerhard Richter, quoted in Chris Jenks, ed., Visual Culture, London, 1995, p. 135).

As Richter wrote in a letter to Edy de Wilde in February 1975, the grey paintings came about ‘because I did not know what to paint, or what there might be to paint: so wretched a start could lead to nothing meaningful. As time went on, however, I observed diferences of quality among the grey surfaces – and also that these betrayed nothing of the destructive motivation that lay behind them. The pictures began to teach me. By generalising a personal dilemma, they resolved it’ (Gerhard Richter, quoted in Gerhard Richter: Texts, Writings, Interviews and Letters 1961–2007, London, 2009, p. 91).

The colour that Gerhard Richter arrived at, whilst seemingly monotone, is more complex than initially deemed. The variating thickness of the built-up impasto, juxtaposed with thinner areas of paint application where the white of the canvas is visible beneath, organically infuences the blended grey tone. The naturally occurring fuidly and intuitively painted lines blend and re–blend at a variety of diferent points, all combining to form a deception – that of a speciously and uniformly grey canvas.

The current example displays Richter’s extraordinary mastery of the brush, distributing varying grey tones of paint in both seemingly infnite, twistingly intricate paths and broad sweeping brushstrokes over the entire canvas. Rather

Within Howard and Linda Karshan’s collection, where the importance of mark making is so prevalent amongst the rich collection of drawing, Richter’s Ohne Titel exemplifes Howard’s fascination with line and the tangibility of the artist’s hand.

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Property from the Estate of Howard Karshan

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Jean Dubufet

1901-1985

Sans titre (Paysage) (Untitled (Landscape)) signed and dated 'J. Dubufet 54' upper right watercolour and gouache on paper 32.4 x 39.7 cm (12 3/4 x 15 5/8 in.) Executed in 1954, this work will be published in the revised forthcoming edition of the catalogue raisonné and is accompanied by the copy of the certifcate of authenticity, originally issued by the Fondation Dubufet on 13 June 2001. Estimate £30,000-40,000 $38,600-51,500 €33,300-44,400 ‡ ♠

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Provenance Fuji Television Gallery, Tokyo Private Collection Christie's, London, 27 June 1989, lot 238 Private Collection Sotheby's, New York, 14 May 2003, lot 157 Acquired at the above sale by the late owner Exhibited Tokyo, Fuji Television Gallery, Frontiers I, 12 October - 5 November 1993, no. 19, n.p. (illustrated, titled Composition)

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Lucio Fontana

1899-1968

Concetto spaziale signed ‘l. Fontana’ lower lef; further signed and dated ‘l. Fontana 1954’ on the reverse oil and ink on card laid on canvas 18.1 x 19.4 cm (7 1/8 x 7 5/8 in.) Executed in 1954. Estimate £40,000-60,000 $51,500-77,200 €44,400-66,600 ‡ ♠ Provenance Collection Francesco de Bartolomeis Galleria Blu, Milan Galleria Rino Costa, Valenza Private Collection, Turin Private Collection, Milan Kunsthaus Lempertz, Cologne, 12 November 1999, lot 205 Acquired at the above sale by the late owner

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Exhibited Milan, Galleria Blu, Lucio Fontana, il gesto e la materia, 1 December 1983 - 14 January 1984 Valenza, Galleria Rino Costa, April 1995 Literature Enrico Crispolti, Lucio Fontana: Catalogue Raisonné des Peintures, Sculptures et Environnements Spatiaux, vol. II, Brussels, 1974, no. 54 V 1, pp. 208-209 (illustrated, p. 209) Enrico Crispolti, Lucio Fontana Catalogo generale, vol. II, Milan, 1986, no. 54 V 1, p. 716 (illustrated) Enrico Crispolti, Lucio Fontana: Catalogo Ragionato di sculture, dipinti, ambientazioni, vol. II, Milan, 2006 -2015, no. 54 V 1, p. 921 (illustrated)

Property from the Estate of Howard Karshan

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Lucio Fontana

1899-1968

Studi per parete spaziale signed and dated ‘fontana 49’ lower right; further titled ‘parete spaziale’ lower lef ink and graphite on paper 21.9 x 27.9 cm (8 5/8 x 11 in.) Executed in 1949. Estimate £6,000-8,000 $7,700-10,300 €6,700-8,900 ‡ ♠ Provenance Briest Auctions, Paris, 21 March 2001, lot 326 Acquired at the above sale by the late owner Literature Luca Massimo Barbero, Lucio Fontana: Catalogo ragionato delle opere su carta, vol. II, Milan, 2013, no. 59 DAD 2, p. 763 (illustrated) A Tale of Two Cities

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Lucio Fontana

1899-1968

Concetto spaziale signed and dated ‘Fontana 49’ lower right ink on perforated paper 28.1 x 22.1 cm (11 1/8 x 8 3/4 in.) Executed in 1949. Estimate £15,000-20,000 $19,300-25,700 €16,600-22,200 ‡ ♠ Provenance Briest Auctions, Paris, 21 March 2001, lot 319 Acquired at the above sale by the late owner Literature Luca Massimo Barbero, Lucio Fontana: Catalogo ragionato delle opere su carta, vol. II, Milan, 2013, no. 49 DSP 69, p. 500 (illustrated)

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Property from the Estate of Howard Karshan

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Giuseppe Penone

b. 1947

Mute (La pelle del tempo) (Mute (The Skin of Time)) signed and dated ‘Giuseppe Penone 92’ lower right ink on paper 47.9 x 33 cm (18 7/8 x 13 in.) Executed in 1992. Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 ‡ ♠ Provenance Collection Michel and Liliane Durand - Dessert, Paris (acquired directly from the artist) Galerie Di Meo, Paris Acquired from the above by the late owner in January 2008

Rosemarie Trockel

b. 1952

Untitled signed with the artist’s initials and dated ‘R.T. 83’ on the reverse watercolour on paper 23.5 x 17.5 cm (9 1/4 x 6 7/8 in.) Executed in 1983. Estimate £3,000-5,000 $3,900-6,400 €3,300-5,500 ‡ ♠ Provenance Maureen Paley Interim Art, London Acquired from the above by the late owner in March 1988

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Antoni Tàpies

1923-2012

Paper de diari amb nou ratlles (Newsprint with nine strokes) signed ‘tapies’ lower right mixed media on newsprint 48.9 x 66 cm (19 1/4 x 26 in.) Executed in 1969. Estimate £12,000-18,000 $15,400-23,200 €13,300-20,000 ‡ ♠ Provenance Galerie Maeght, Paris Martha Jackson Gallery, New York Galleri Kenneth Ålberg, Gothenburg Private Collection Christie’s, London, 26 June 1986, lot 29 Acquired at the above sale by the late owner Exhibited Gothenburg, Galleri 69, Antoni Tàpies, 1975, no. 233, p. 11 (illustrated) Literature Edmond Raillard, antoni tàpies MÉMOIRE autobiographie, Paris, 1981, p. 97 (illustrated) Pere Gimferrer, TÀPIES AND THE CATALAN SPIRIT, Barcelona, 1986, no. 87, pp. 67, 368 (illustrated, p. 67) Anna Augustí, Tàpies The Complete Works 1969–1975, vol. III, Koln, 1997, no. 2009, p. 61 (illustrated)

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Property from the Estate of Howard Karshan

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Gerhard Richter

b. 1932

Composition oil on canvas mounted on board canvas 13 x 14 cm (5 1/8 x 5 1/2 in.) overall 24.5 x 26.5 cm (9 5/8 x 10 3/8 in.) Painted in 1968. Estimate £15,000-20,000 $19,300-25,700 €16,600-22,200 ♠ Provenance Galerie Eric Franck, Geneva Acquired from the above by the late owner in 1991

Gerhard Richter

b. 1932

Ohne Titel signed and dated ‘Richter 1977’ lower right of board oil on cardboard mounted on board cardboard 14 x 88.3 cm (5 1/2 x 34 3/4 in.) overall 27.1 x 100.6 cm (10 5/8 x 39 5/8 in.) Painted in 1977. Estimate £20,000-30,000 $25,700-38,600 €22,200-33,300 ‡ ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner

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Anselm Kiefer

b. 1945

Das Alwis Lied titled ‘Das Alwis Lied’ lower lef; further numbered ‘3’ on the reverse emulsion on photograph 18 x 24 cm (7 1/8 x 9 1/2 in.) Executed in 1980. Estimate £5,000-7,000 $6,400-9,000 €5,500-7,800 ♠ Provenance Marian Goodman Gallery, New York Joshua L. Mack, New York (acquired from the above in March 1984) Private Collection (gifed by the above) Acquired from the above by the late owner in 1991 Exhibited Munich, Galerie Six Friedrich and Sabine Knust, Anselm Kiefer. Bilder und übermalte Photoarbeiten, 1980 New York, Marian Goodman Gallery, 1983

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Property from the Estate of Howard Karshan

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Georg Baselitz

b. 1938

Ohne Titel signed with the artist’s initials ‘GB.’ lower right felt tip pen and ink on paper 74.3 x 55.9 cm (29 1/4 x 22 in.) Executed circa 1973. Estimate £25,000-35,000 $32,200-45,000 €27,700-38,800 ‡ ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in February 1991

Verso: The reverse of this work is a unique print: Akt nach Zeichnung (Act Afer Painting), 1958-59, 1972 Drypoint, on Zaan Bord paper, with full margins. Signed and dated 'Baselitz 59/70 (erronous), one of two unique proofs, there was no edition. I. 29.5 x 24 cm (11 5/8 x 9 1/ 2 in.) Literature Fred Jahn 103, p.138 (illustrated)

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Property from the Estate of Howard Karshan

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Wols

1913-1951

Ohne Titel signed ‘WOLS’ lower right ink on paper 31.4 x 22.2 cm (12 3/8 x 8 3/4 in.) Executed circa 1942-1943, this work is accompanied by a certifcate of authenticity issued by Dr. Ewald Rathke. Estimate £3,000-4,000 $3,900-5,100 €3,300-4,400 ‡ ♠ Provenance Private Collection, Europe Sotheby’s, London, 29 June 2016, lot 204 Acquired at the above sale by the late owner

Georg Baselitz

b. 1938

Stilleben (Still Life) signed and dated ‘G. Baselitz 9. Juni ‘76’ lower right ink on paper 52.7 x 41.9 cm (20 3/4 x 16 1/2 in.) Executed in June 1976. Estimate £10,000-15,000 $12,900-19,300 €11,100-16,600 ‡ ♠ Provenance Galerie Fred Jahn, Munich Private Collection, London Christie’s, London, 1 December 1988, lot 809 Acquired at the above sale by the late owner Exhibited London, Runkel-Hue-Williams Ltd; London, Grob Gallery, Georg Baselitz Paintings Bilder 1962-1988, 19 September 2 November 1990, pp. 38, 39, 70 (illustrated, pp. 38, 70)

A Tale of Two Cities

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Property from the Estate of Howard Karshan

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Artist Focus / Sigmar Polke

The following selection of works, predominantly from the 1960’s, ofer an exciting introduction to Sigmar Polke’s early work and establishment of his iconic style. Executed at the height of Polke’s involvement with ‘Capitalist Realism,’ the ironic German branch of Pop Art he founded with Konrad Lueg (later Konrad Fischer) and Gerhard Richter in 1963, these works are united by Polke’s specifc preference to join the apparently disparate on every conceivable level. Perceptive and comical observations on postwar politics and consumer society, the works of the Capitalist Realists were a direct contrast to the glossy Pop Art of Andy Warhol in America. Unlike Warhol and later Claus Oldenburg who had used the ballpoint pen from 1956 to lend their drawings an immediacy and freshness, Polke used the same medium to reinforce the impression of artless banality, executed with childlike innocence. In contradiction to the unselfconscious childlike execution, Die Luflandedivision 1FC. Klön exemplifes Polke’s explicit political commentaries. Born in East Germany, moving West when he was twelve, Polke had experienced the afermath of the war on both sides of the wall. ‘Die Luflandedivision’ exposes the dualism and divide between East and West Germany: Floating below the parachuting heads, the words ‘Die Luflandedivision’ highlight Polke’s sardonic wit and subversive approach to political commentary.

Sigmar Polke. Dusseldorf, 1971. © Photo Angelika Platen. Image: Scala, Florence/bpk, Bildagentur fuer Kunst, Kultur und Geschichte, Berlin.

Rudimentary markings of an elephant and palm tree deliberately evoke children’s drawings in Ohne Titel (Elefant und Palme), simultaneously conjuring the jewel-like quality of Polke’s stained glass painting training in the wonderfully placed expanse of yellow pigment. Ironically alluding to the tourist industry’s promise of an exotic holiday escape for hardworking West Germans, Polke used the palm tree throughout his works ‘like a leitmotif’ (Alibis SIGMAR POLKE 1963-2010, exh. cat., The Museum of Modern Art, New York, 2014, p. 35). Deliberately displacing elements over the picture surface, large spaces occupy much of Polke’s works from this period. Ofen as oversized margins, these borders emphasise Polke’s images as visual quotations, presented as if cut out from magazines or newspapers. Deeply critical of the role of printed media, deemed a cheap and powerful socialising force, the thin newsprint Polke chose to work on, ofen with irregular torn edges and easy to wrinkle, augments his beliefs. Continuing to emulate and twist social themes in the press, Polke translated the intimate relations which were readily strewn across news pages into contrasted caricatural silhouettes. Ohne Titel (Fräulein mit Kartofelkopf) (Reihe Duo) amusingly replaces the man with a fgure from Polke’s ‘potatohead’ series. The female face is depicted looking outwards; her hair styled and face fully made-up; heavily shadowed eyes and painted mouth closed. Polke’s exploration of the attitudes towards separation and mutual indiference is exemplifed in these unusual disparate pairings and physically divided here by the vertical barrier of black ink. As well as creating physical divides in his work to highlight his social beliefs, from the 1960’s, the importance of line was a driving force throughout Polke’s inventive oeuvre, creating a spirit of unpredictability. Ohne Titel, circa 1965 explores the application of line, colour and composition on the bare page. The continuing importance of line, experimentation and element of fun is demonstrated in Polke’s Ohne Titel painting circa 1972 when Polke was exploring the realms of photography and the efects of LSD. Brilliantly bright and playful, Polke incorporates glitter and spray paint, exemplifying the evident joy of discovering new materials and pigments. Engaging, intriguing and exciting, the present works crucially refect how Polke ironically refected the world around him. Through an unconventional aesthetic and experimentational technique Polke posed a cold investigation into his country’s sociocultural and economic climate and the political and commercial uses of representation.

A Tale of Two Cities

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Sigmar Polke

1941-2010

Ohne Titel signed ‘Sigmar Polke’ on the reverse acrylic, spray paint, metallic paint, glitter and wooden keys on canvas 50 x 40 x 2.5 cm (19 5/8 x 15 3/4 x 0 7/8 in.) Executed circa 1972.

Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner We are most grateful to Mr. Michael Trier, Artistic Director from the Estate of Sigmar Polke, for his assistance.

Estimate £40,000-60,000 $51,600-77,400 €44,400-66,600 ♠ 69

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Property from the Estate of Howard Karshan

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Sigmar Polke

1941-2010

Ohne Titel (Fräulein mit Kartofelkopf) (Reihe Duo) (Untitled (Young Lady with Potato Head) (Duo series)) signed and dated ‘Polke 66’ lower right watercolour on paper 61.3 x 85.7 cm (24 1/8 x 33 3/4 in.) Executed in 1966. Estimate £50,000-70,000 $64,300-90,000 €55,500-77,600 ‡ ♠ Provenance Walter Bareiss Collection Galerie Fred Jahn, Munich Acquired from the above by the late owner in November 1989 Literature Sigmar Polke Join the dots, exh. cat., Tate Gallery, Liverpool, 1995, p. 50 (illustrated) We are most grateful to Mr. Michael Trier, Artistic Director from the Estate of Sigmar Polke, for his assistance.

A Tale of Two Cities

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Sigmar Polke

1941-2010

Ohne Titel signed ‘Polke’ on the reverse watercolour on paper 100 x 70.2 cm (39 3/8 x 27 5/8 in.) Executed circa 1965. Estimate £50,000-70,000 $64,300-90,000 €55,500-77,600 ‡ ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in May 1988 Exhibited New York, David Nolan Gallery, Sigmar Polke Drawings from the 1960’s, 17 October - 21 November 1987, no. 6. 1967, pp. 25, 49 (illustrated, p. 25)

We are most grateful to Mr. Michael Trier, Artistic Director from the Estate of Sigmar Polke, for his assistance.

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Property from the Estate of Howard Karshan

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Sigmar Polke

1941-2010

Ohne Titel (Elefant und Palme) (Untitled (Elephant and Palm)) signed and dated ‘Polke 64’ lower right gouache and felt tip pen on paper 74.6 x 48.6 cm (29 3/8 x 19 1/8 in.) Executed in 1964. Estimate £30,000-40,000 $38,600-51,500 €33,300-44,400 ‡ ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in December 1988 We are most grateful to Mr. Michael Trier, Artistic Director from the Estate of Sigmar Polke, for his assistance.

A Tale of Two Cities

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Sigmar Polke

1941-2010

Ohne Titel (Umarmung) (Untitled (Embrace)) signed and dated ‘Polke 63’ lower right ballpoint pen on paper 29.6 x 21 cm (11 5/8 x 8 1/4 in.) Executed in 1963. Estimate £20,000-30,000 $25,700-38,600 €22,200-33,300 ‡ ♠ Provenance Private Collection Sotheby’s, London, 27 June 1997, lot 250 Acquired at the above sale by the late owner We are most grateful to Mr. Michael Trier, Artistic Director from the Estate of Sigmar Polke, for his assistance.

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Property from the Estate of Howard Karshan

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Sigmar Polke

1941-2010

Die Luflandedivision - 1 FC. Köln (The Airbourne Division - 1 FC. Cologne) titled ‘DIE LUFTLANDEDIVISION 1 FC. Köln’ lower edge; further signed ‘S. Polke’ on the reverse ballpoint pen and gouache on paper 29.7 x 20.9 cm (11 3/4 x 8 1/4 in.) Executed in 1964.

Exhibited Amsterdam, Galerie im Goethe Institut/Provisorium, Sigmar Polke 100 klene Tekeningen, 23 May 10 June 1972 Bonn, Kunstmuseum, Sigmar Polke Zeichnungen, Aquarelle, Skizzenbücher 1962-1988, 15 June 28 August 1988, no. 3.30, p. 209

Estimate £12,000-18,000 $15,400-23,200 €13,300-20,000 ‡ ♠

We are most grateful to Mr. Michael Trier, Artistic Director from the Estate of Sigmar Polke, for his assistance.

Provenance Galerie Daniel Blau, Munich Acquired from the above by the late owner in February 1998

A Tale of Two Cities

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Sigmar Polke

1941-2010

Freund mit Bart (Friend with Beard) signed ‘S. Polke’ lower right watercolour on paper 29.5 x 21 cm (11 5/8 x 8 1/4 in.) Executed circa 1965. Estimate £12,000-18,000 $15,400-23,200 €13,300-20,000 ‡ ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in December 1989 We are most grateful to Mr. Michael Trier, Artistic Director from the Estate of Sigmar Polke, for his assistance.

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Property from the Estate of Howard Karshan

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Sigmar Polke

Joseph Beuys

1941-2010

1921-1986

Ohne Titel (Fliegende Fische) (Untitled (Flying Fish)) signed and dated ‘Polke 64’ lower right gouache and felt tip pen on paper 49.8 x 37.1 cm (19 5/8 x 14 5/8 in.) Executed in 1964.

Elch mit Frauen (Moose with Women) signed and dated ‘Joseph Beuys 1954’ on the reverse graphite and hare’s blood on paper 21 x 29.8 cm (8 1/4 x 11 3/4 in.) Executed in 1954.

Estimate £12,000-18,000 $15,500-23,300 €13,400-20,100 ‡ ♠

Estimate £25,000-35,000 $32,200-45,000 €27,700-38,800 ‡ ♠

Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner

Provenance Anthony d’Ofay Gallery, London Galerie Isy Brachot, Brussels Private Collection Kunsthaus Lempertz, 28 May 1999, lot 67 Acquired at the above sale by the late owner

We are most grateful to Mr. Michael Trier, Artistic Director from the Estate of Sigmar Polke, for his assistance.

Exhibited Brussels and Paris, Galerie Isy Brachot, Joseph Beuys, 20 December 1989 - 28 April 1990, pp. 60, 172 (illustrated, p. 61)

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Property from the Estate of Howard Karshan

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Joseph Beuys

1921-1986

Eiszeittiere (Ice Age animals) signed, titled and dated ‘Joseph Beuys Eiszeittiere 51’ on the reverse with an accompanying sketch graphite on card 14 x 16.5 cm (5 1/2 x 6 1/2 in.) Executed in 1951. Estimate £20,000-30,000 $25,700-38,600 €22,200-33,300 ‡ ♠ Provenance Galerie René Block, Berlin Karsten Schubert, London Acquired from the above by the late owner A Tale of Two Cities

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Gerhard Richter

b. 1932

21.9.85 (2) signed, titled and dated ‘(2) 21.9.85 Richter’ lower lef graphite on paper 21 x 29.5 cm (8 1/4 x 11 5/8 in.) Executed in 1985. Estimate £10,000-15,000 $12,900-19,300 €11,100-16,600 ‡ ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner

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Exhibited Museum Overholland Amsterdam, Gerhard Richter werken op papier 1983-1986 notities 1982-1986, 20 February - 20 April 1987, p. 39 (illustrated) Literature Kunstmuseum Winterthur, Gerhard Richter: Drawings and Watercolours, 1964 – 1999, 4 September – 21 November 1999, no. 85/12, p. 251 (illustrated) Dieter Schwarz, Birgit Pelzer, Gerhard Richter: Drawings 1964-1999, Catalogue Raisonné, Düsseldorf, 2000, no. 85/12, pp. 11, 251 (illustrated, p. 251) www.gerhard-richter.com, Catalogue Raisonné, online

Property from the Estate of Howard Karshan

12/09/18 09:04


Dieter Roth

1930-1998

‘Suitcase’ (Besuch, Zweiseiter) signed and dated ‘Dieter Roth 68’ on the reverse; further numbered ‘130 ROT 449.72’ on a label afxed to the bottom edge of the artist’s frame photograph in resin, tape, glass, metal handle on artist’s wooden frame 54 x 53 cm (21 1/4 x 20 7/8 in.) Executed in 1968. Estimate £8,000-12,000 $10,300-15,400 €8,900-13,300 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in December 1989

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Dieter Roth

1930-1998

P.o.TH.A.A.VFB (Portrait of the artist as Vogelfutterbüste) signed, numbered and dated ‘DIETER ROTH 1969 8/30’ on a paper label afxed to the underside of the base; further titled ‘P.O.TH.A.A.VFB.’ on a plastic label afxed to the front edge of the base chocolate and birdseed on plaster with plywood base overall 28.3 x 27 x 27 cm (11 1/8 x 10 5/8 x 10 5/8 in.) Executed in 1969, this work is number 8 from an edition of 30. Estimate £3,000-4,000 $3,900-5,100 €3,300-4,400 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in December 1989

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Exhibited New York, MOMA PS1, Roth Time: A Dieter Roth Retrospective, 12 March - 7 June 2004 (another example exhibited) New York, Museum of Modern Art, Eye on Europe: Prints, Books and Multiples/1960 to Now, 15 October 2006 1 January 2007 (another example exhibited) New York, Museum of Modern Art, wait, later this will be nothing: editions by dieter roth, February - June 2013, pp. 69, 92 (another example exhibited and illustrated, p. 69) Literature Dirk Dobke, ed., Dieter Roth: Books + Multiples, Catalogue Raisonné, London, 2004, p. 26, no. Dobke 1968.10 (another example illustrated)

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Artist Focus / Arnulf Rainer

As the founder of Art Informel in Austria, Arnulf Rainer’s paintings were powerful and gestural. He drew and painted over self-portraits, paintings and photographs by other contemporary artists. In 1978, Rainer represented Austria at the Venice Biennale, and in the same year, he was awarded the Great Austrian National Prize. In 2009, the Arnulf Rainer museum opened in his hometown, Baden, Austria. By constantly re-working his own compositions and overpainting works by other artists, Rainer challenges the notion of completion in his work, making art that is destructive yet creative at the same time: ‘Even today I am still correcting these pictures, time and time again, to achieve a total darkening, although I forgot long ago what used to be underneath. I prefer to work on a paint-over of a paint-over. It was never my intention to destroy, only to make complete’ (Arnulf Rainer, quoted in Arnulf Rainer: Early Work, exh. cat., Galerie Thaddaeus Ropac, London, 2017, p. 171). Using a variety of mediums and unconventional methods, Rainer’s artistic practice has been informed by Surrealism, dreams, primal forces, and mythology. He uses passport photobooths for self-portraits, paints blindfolded with his feet or sometimes even with his entire body. Fuelled by obsession, his explosive compositions are infused with palpable energy. Rainer’s ‘overpaintings’, developed in the 1950s, eventually led him to experiment with blind drawing that brought him into contact with Viennese Actionism — the movement famous for its emphasis on raw, physical energy that engages the viewer with an intense sensational experience. Although not a member of the Viennese Actionism group, Rainer is ofen linked to artists within that group such as Hermann Nitsch due to his expressive, performative approach, and the violent imagery of his work. The following selection of works, executed throughout the earlier days of Rainer’s career, ofer an insight to the development in his artistic practice from the monochrome paintings to his overpainted photographs. The late 1950s to early 1960s marked a transitional phase in Rainer’s career where he started to create paintings with thick layers of paint that covered almost the entire canvas, ofen in black: ‘When in the early sixties I did not know how to go on with my improvements, I created coloured rest corners, thus jettisoning my own principles. Aferwards, it has become more dear to me, and to my mind this ‘reactionary’ phase actually opened the way to overpainting (Arnulf Rainer, quoted in Arnulf Rainer: Early Work, exh. cat., Galerie Thaddaeus Ropac, London, 2017, p. 171). Rainer’s ‘rest corner’ paintings such as Übermalung mit Ecke (Overpainting with corner) are usually painted and re-worked A Tale of Two Cities

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over the course of many years: ‘Today, being preoccupied with other artistic problems, I continue working on these pieces — at least the ones I still own — with an average of one brush stroke a month. Until my demise they will continue to change considerably, i.e. they will grow denser and denser, until only small patches of white remain, edges or corners, perhaps not even these’ (Arnulf Rainer, quoted in Arnulf Rainer: Early Work, exh. cat., Galerie Thaddaeus Ropac, London, 2017, p. 171). Upon close observation, hints of blue, green and red peek through from behind the black at the top right corner, hinting at the once existing colourful underpainting that Rainer gradually covered. The intentional blank corners of these paintings leave the composition open and unfnished, which suggest an artistic practice that is an ‘inchoate process that defes completion’ (Arnulf Rainer: Retrospektive, exh. cat., MMKK – Museum Moderner Kunst Kärnten, Cologne, 2008, p. 20). The presence of authorship is embedded everywhere in Rainer’s work. In examples such as Ohne Titel, 1961 and Ohne Titel, 1967, the gritty texture of oilstick further accentuates the unevenness of the surface and the artist’s gestural movements across the canvas, leaving it empty but flled at the same time. The colour black is scribbled on with extreme intensity, highlighting the artist’s touch. This aggressive, tactile approach ‘reaches a climax in the fnger smearing at the beginning of the 1980s’ (Arnulf Rainer, quoted in Arnulf Rainer: Early Work, exh. cat., Galerie Thaddaeus Ropac, London, 2017, p. 171). Rainer introduced the medium of photography into his work in the late 1960s with the Face Farces and Body Poses series, and in 1977, he started a series of reworked photographs, including the Death Mask series. In FITZEN, 19 Knäuel, Rainer plays the game of hide and seek with the identity of the subject, as he does in all his reworked photographs. The slashes of black seem to cover important details of the image underneath, but at the same time appears to be intentionally added to mimic long hair. The smeared colours of red, yellow, and green across an existing photograph, deliberately hides the subject but also exaggerating his expression that is violently furrowed and disfgured. Through the manipulation of form, composition, and texture, Rainer aims to capture extreme emotions and push past the fgurative limits of an image, releasing hidden energies. His works are distinctively abstract whilst remaining fgurative: ‘I reject the idea of abandoning the image in favour of an object of monochrome coating as too conclusive. For me it is a matter of ‘almost’. This ‘almostness’ is only achieved step by step; the work keeps expanding, becoming more and more opaque, maybe indefnitely; room enough in any case, for a century of art history’ (Arnulf Rainer, quoted in Arnulf Rainer: Early Work, exh. cat., Galerie Thaddaeus Ropac, London, 2017, p. 171). 82

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Arnulf Rainer

b. 1929

Übermalung mit Ecke (Overpainting with corner) signed ‘A. Rainer’ lower lef; further signed, titled, numbered and dated ‘Übermalung mit Ecke, 1959-62, Rainer II’ on the reverse acrylic, oil, wax crayon and graphite on canvas 70.5 x 50.5 cm (27 3/4 x 19 7/8 in.) Executed in 1959-1962.

Provenance Private Collection, Vienna Klewan Gallery, Vienna (acquired from the above in 1967) Prelinger Collection, Munich (acquired from the above in 1974) Galerie Fred Jahn, Munich Acquired from the above by the late owner

Estimate £50,000-70,000 $64,300-90,000 €55,500-77,600 ♠

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Property from the Estate of Howard Karshan

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Arnulf Rainer

b. 1929

Ohne Titel signed and dated ‘Rainer 61’ lower right oil and oilstick on card laid on aluminium 27 x 20.2 cm (10 5/8 x 7 7/8 in.) Executed in 1961. Estimate £8,000-12,000 $10,300-15,400 €8,900-13,300 ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner

Arnulf Rainer

b. 1929

Ohne Titel inscribed with the artist’s signature ‘A Rainer’ on the reverse oil and oilstick on aluminum 28.3 x 20 cm (11 1/8 x 7 7/8 in.) Executed in 1967. Estimate £8,000-12,000 $10,300-15,400 €8,900-13,300 ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner

A Tale of Two Cities

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Arnulf Rainer

b. 1929

FITZEN, 19 Knäuel (19 tangles or balls) inscribed ‘FITZEN’ lower center oil and pastel on gelatin silver print 60.3 x 49.8 cm (23 3/4 x 19 5/8 in.) Executed circa 1970-1971. Estimate £15,000-20,000 $19,300-25,700 €16,600-22,200 ‡ ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in September 1988

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Property from the Estate of Howard Karshan

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Palermo

1943-1977

Ohne Titel signed and dated ‘Palermo 71’ lower centre watercolour and graphite on paper 20.6 x 14.9 cm (8 1/8 x 5 7/8 in.) Executed in 1971. Estimate £10,000-15,000 $12,900-19,300 €11,100-16,600 ‡ ♠ Provenance Gerhard Richter, Cologne Galerie Fred Jahn, Munich David Nolan Gallery, New York Ronald Lauder, New York Galerie Fred Jahn, Munich Acquired from the above by the late owner

A Tale of Two Cities

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Exhibited Leipzig, Museum der bildenden Künste; Kunstraum München, BLINKY PALERMO, 6 June - 20 November 1993, pp. 86, 211 (illustrated, p.86) Edinburgh, Royal Scottish Academy and The Fruit Market Gallery; London, Hayward Gallery, Southbank Centre; Munich, Haus der Kunst, The Romantic Spirit in German Art 1790-1990, 28 July 1994 - 1 May 1995, no. 277 (illustrated) Literature Thordis Moeller, ed., Palermo Band II Zeichnungen, Bonn, 1995, no. 570, n.p. (illustrated)

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Actual size

Palermo

1943-1977

Ohne Titel signed and dated ‘Palermo 71’ lower centre coloured crayon and graphite on paper work 15 x 10.8 cm (5 7/8 x 4 1/4 in.) sheet 66.5 x 45.6 cm (26 1/8 x 17 7/8 in.) Executed in 1971. Estimate £10,000-15,000 $12,900-19,300 €11,100-16,600 ♠ Provenance Galerie Heiner Friedrich, Munich Sammlung Erik Moscl, Munich Sammlung Dürckheim, Munich Prinz Franz von Bayern, Munich Galerie Fred Jahn, Munich Acquired from the above by the late owner in 1990

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Exhibited Leipzig, Museum der bildenden, Künste; Kunstraum München, BLINKY PALERMO, 6 June - 20 November 1993, pp. 59, 211 (illustrated, p.59) Edinburgh, Royal Scottish Academy and The Fruit Market Gallery; London, Hayward Gallery, Southbank Centre; Munich, Haus der Kunst, The Romantic Spirit in German Art 1790-1990, 28 July 1994 - 1 May 1995, no. 276 (illustrated) Literature Erich Maas and Delano Greenidge, eds., Blinky Palermo 1943 - 1977, New York, 1989, pp. 57, 152 (illustrated, p. 57) Thordis Moeller, ed., Palermo Band II Zeichnungen, Bonn, 1995, no. 409, n.p. (illustrated)

Property from the Estate of Howard Karshan

12/09/18 09:06


Raymond Pettibon

b. 1957

No title (I’ll go anywhere...) signed and dated ‘Raymond Pettibon 87’ on the reverse ink, felt tip pen and watercolour on paper 26.5 x 19.8 cm (10 3/8 x 7 3/4 in.) Executed in 1987. Estimate £12,000-18,000 $15,400-23,200 €13,300-20,000 Provenance 11 Duke Street Limited, London Acquired from the above by the late owner in February 1988

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Keith Sonnier

b. 1941

Green File signed with the artist’s initials and dated ‘KS ‘68’ on the backing board acrylic on wood and wire mounted on wood 245 x 30 x 10 cm (96 1/2 x 11 3/4 x 3 7/8 in.) Executed in 1968, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate £6,000-8,000 $7,700-10,300 €6,700-8,900 Provenance Galerie Rolf Ricke, Cologne Galerie Hans Mayer, Düsseldorf Acquired from the above by the late owner in July 1990

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Art & Language

b. 1939 & b. 1945

Study for ‘Ils donnent leur sang donnez votre travail’ gouache and pencil on paper 53.4 x 106.5 cm (21 x 41 7/8 in.) Executed in 1977. Estimate £6,000-8,000 $7,700-10,300 €6,700-8,900 ♠ Provenance Gimpel Fils Gallery, London Acquired from the above by the late owner Exhibited London, Gimpel Fils, A Cabinet of Drawings, December 1986 Vienna, Kunsthalle, The Language of Art, 27 August - 17 October 1993 Paris, Galerie Nationale du Jeu de Paume, Art & Language, 9 November 1993 - 2 January 1994, pp. 35, 159 (illustrated p. 35) A Tale of Two Cities

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Antony Gormley

b. 1950

Untitled signed with the artist’s initials and dated ‘A.M.D G. ‘88’ on the reverse charcoal on paper 10.5 x 15.5 cm (4 1/8 x 6 1/8 in.) Executed in 1988. Estimate £2,500-3,500 $3,200-4,500 €2,800-3,900 ♠ Provenance Riverside Studios, London, Charity Auction Acquired at the above sale by the late owner

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Richard Long

b. 1945

Small Delabole Spiral slate, in 184 parts overall 2 x 147 x 157 cm (0 3/4 x 57 7/8 x 61 3/4 in.) Executed in 1981, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate £50,000-70,000 $64,300-90,000 €55,500-77,600 ♠ Provenance Anthony d’Ofay Gallery, London Acquired from the above by the late owner in 1991

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Marlene Dumas

b. 1953

Te Jong Meisje signed, titled and dated ‘te jong meisje Marlene 1986’ lower lef ink wash and wax crayon on paper 30 x 21.2 cm (11 3/4 x 8 3/8 in.) Executed in 1986. Estimate £6,000-8,000 $7,700-10,300 €6,700-8,900 ♠ Provenance Galerie Paul Andriesse, Amsterdam Acquired from the above by the late owner A Tale of Two Cities

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Marlene Dumas

b. 1953

Leo signed, titled and dated ‘Leo. M Dumas 2001’ lower right watercolour and gouache on paper 66.4 x 50.2 cm (26 1/8 x 19 3/4 in.) Executed in 2001. Estimate £20,000-30,000 $25,700-38,600 €22,200-33,300 ‡ ♠ Provenance Galerie Paul Andriesse, Amsterdam Acquired from the above by the late owner

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93

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Property from the Estate of Howard Karshan

12/09/18 09:07


‘Henri Michaux was a writer and poet. He travelled a lot in Asia and got interested in Asian calligraphy and his ‘mouvement drawings’ are evidence of that. But the work of his that interest me the most are the drawings that he did under the influence of mescaline. There are two of these in the collection and they’re really quite extraordinary. When I brush my teeth and shave, I leave the door of the bathroom open and I’m looking at these mescaline drawings. They’re really amazing.’ Howard Karshan

A Tale of Two Cities

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Henri Michaux

Henri Michaux

1899-1984

1899-1984

Sans titre signed with the artist’s initials ‘HM’ lower right acrylic, oil and india ink on canvas laid on board 27 x 35.4 cm (10 5/8 x 13 7/8 in.) Painted in 1984.

Sans titre (#11) signed with the artist’s initials ‘HM’ lower right acrylic on canvas laid on board 48 x 57.2 cm (18 7/8 x 22 1/2 in.) Painted in 1980.

Estimate £5,000-7,000 $6,400-9,000 €5,500-7,800

Estimate £10,000-15,000 $12,900-19,300 €11,100-16,600

Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in May 1989

Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in March 1990

Literature Fred Jahn and Michael Krüger, Henri Michaux Bilder Aquarelle Zeichnungen Gedichte Aphorismen 1942-1984, Munich, 1987, p. 143 (illustrated)

Exhibited Tokyo, The Seibu Museum of Art; Kitakyushu Municipal Museum of Art; Ohtsu, The Seibu Hall, Henri Michaux, January - June 1983, no. 180 Buenos Aires, Museo Nacional de Bellas Artes, Lenguajes Del Papel, May 1987, no. 17, n.p. (illustrated) Munich, Galerie Fred Jahn, Henri Michaux, Werke 1967-1984, 28 March - 28 April 1990, n.p. (illustrated)

95

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Property from the Estate of Howard Karshan

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Henri Michaux

1899-1984

Henri Michaux

1899-1984

Sans titre signed with the artist’s initials ‘HM’ lower right gouache on paper 44 x 56 cm (17 3/8 x 22 in.) Executed in 1954.

Sans titre signed with the artist’s initials ‘HM’ lower right ink on paper 31.8 x 24.1 cm (12 1/2 x 9 1/2 in.) Executed circa 1955-1959.

Estimate £4,000-6,000 $5,100-7,700 €4,400-6,700

Estimate £15,000-20,000 $19,300-25,700 €16,600-22,200 ‡

Provenance Baron Elie de Rothschild Galerie di Meo, Paris Acquired from the above by the late owner in January 2008

Provenance Alain Rodel Baudoin Lebon, Paris Private Collection Sotheby’s, London, 18 October 2006, lot 703 Acquired at the above sale by the late owner

Exhibited Frankfurt, Galerie Daniel Cordier, Henri Michaux, 1959, no. 599 Zurich, Galerie Lienhardt, Henri Michaux, 1959, no. 35 St. Paul de Vence, Fondation Maeght, Henri Michaux, 3 April - 10 June 1976, no. 145

A Tale of Two Cities

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Exhibited Munich, Galerie van de Loo, Henri Michaux, 1969, no. 215, n.p. Hanover, Kestner-Gesellschaf, Henri Michaux Retrospective, November 1972 - January 1973, no. VI 6, n.p. (illustrated) Stadische Kunsthalle Düsseldorf, Ausstellung SurrealitätBildrealitätt, 8 December 1974 - 2 February 1975, no. 225 Tokyo, The Seibu Museum of Art, Henri Michaux, 2 January - 21 February 1983, no. 83, p. 81 (illustrated) Paris, Galerie baudoin lebon, henri michaux, 1985, no. 43, p. 23

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97

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Property from the Estate of Howard Karshan

12/09/18 09:07


Robert Ryman

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20th Century & Contemporary Art Evening Sale London, 5 October 2018 20th Century & Contemporary Art Day Sale London, 4 October 2018 Editions & Works on Paper New York, 17 October 2018 20th Century & Contemporary Art Day Sale New York, November 2018 New Now London, December 2018 New Now New York, March 2019

99

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Property from the Estate of Howard Karshan

12/09/18 09:20


Henri de Toulouse-Lautrec

1864-1901

Débauche (deuxième planche), 1896 Crayon, brush and spatter lithograph in three colors, on silk, the second (fnal) state. Signed in sanguine crayon, one of only four known proofs, three of which were on silk (before the numbered edition of 50, there was also a second edition of 100 with text, published by Arnould, Paris), framed. I. 9 1/2 x 12 5/8 in. (24 x 32 cm) S. 16 1/8 x 20 1/2 in. (41 x 52 cm) Estimate $25,000-35,000 Provenance Maurice Loncle, Paris, inkstamp (Fritz Lugt 3489) ‘57’ inkstamp in red Sotheby & Co., London, Important 19th Century and Modern Prints, November 20, 1973, lot 261 (original receipt) Literature Wolfgang Wittrock 167 Loys Deteil 178 Götz Adriani 187 Jean Adhémar 212

Of the three impressions on silk, Wittrock records one in the collection of the Boston Public Library, one sold Christie’s, London, December 2, 1982, lot 278, and this impression based on a receipt in the Karshan records. Debauchery was used as the cover image for publisher A. Arnould’s June 1896 sale of posters created by both French and international artists and was a comprehensive look at the market during the height of the French poster craze. Below, Lautrec is photographed on the lef alongside the painter-printmaker Maxime Dethomas, the male fgure in Débauche. A friend of the artist, Dethomas was known by Lautrec as Grosnabre (the big tree) and was considered a gentle giant, polite and discreet, despite his accompanying Lautrec to various Parisian brothels. In Débauche, Lautrec invoked a humorous dichotomy and depicted a contrast of dispositions between his friend: the keenly interested client, and his paramour: the bored, anonymous prostitute.

Maurice Loncle (1879-1966) collector’s stamp (Fritz Lugt 3489)

Maurice Guibert. Henri de ToulouseLautrec with Maxime Dethomas, in his studio, c.1895. © Musée Toulouse-Lautrec, Albi, France

A Tale of Two Cities

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100

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101

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Property from the Estate of Howard Karshan

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Walter de Maria

b. 1935

The Pure Polygon Series: six plates, 1975-76 Six graphite template drawings, on American Etching paper, with full margins, all contained in the original Pine and Maple wood portfolio and canvas slipcase. All signed, titled, dated and numbered 12/21 in pencil on the reverse, published by the artist, lacking Polygon. all I. variable all S. 36 x 36 in. (91.4 x 91.4 cm)

Provenance Galerie Fred Jahn, Munich, 1989 Titles include: The Triangle of Seven Template Drawings; The Square of Seven Template Drawings; The Pentagon of Seven Template Drawings; The Hexagon of Seven Template Drawings; The Heptagon of Seven Template Drawings and The Octagon of Seven Template Drawings

Estimate $15,000-25,000

A Tale of Two Cities

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102

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Robert Ryman

b. 1930

Seven Aquatints, 1972 The complete set of seven aquatints in white, on Rives BFK paper, with full margins. All signed, dated and numbered 3/50 in pencil (there were also 10 artist’s proofs lettered A-J), published by Parasol Press, Ltd., New York, all framed. all I. various sizes six S. 24 1/8 x 24 in. (61.2 x 61 cm) one S. diameter 19 5/8 in. (50cm) Estimate $15,000-20,000 Literature Amy Baker Sandback RR G5/1-7

103

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Property from the Estate of Howard Karshan

12/09/18 09:21


Brice Marden

b. 1938

Ellen Gallagher

b. 1965

Five Plates, 1973 The complete set of fve, including four etchings and aquatint and one etching, on Rives BFK paper, with full margins. All signed, dated and numbered 35/50 in pencil (there were also 15 artist’s proofs), published by Parasol Press, Ltd., New York, all framed. all I. approximately 27 1/2 x 19 5/8 in. (69.8 x 50 cm) all S. approximately 39 7/8 x 29 1/2 in. (101.2 x 74.8 cm)

Untitled, 1997 Unique monoprint of ink transfer in colors, on Misu paper, with full margins. Another example in addition to the series of 20 unique monoprints published by the artist to beneft The Artists Space, New York, framed. I. 22 1/2 x 20 in. (57.2 x 50.8 cm) S. 42 3/4 x 28 1/2 in. (108.6 x 72.4 cm)

Estimate $15,000-20,000

Estimate $12,000-18,000

Literature Jeremy Lewison 23 A Tale of Two Cities

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105

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Property from the Estate of Howard Karshan

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Robert Ryman

b. 1930

Etching in Four Parts, 1972 The complete set of four etchings in colors, on Rives BFK paper, with full margins. All signed, dated, annotated ‘a/p’ and numbered 1-4 in pencil respectively (one of 5 artist’s proofs, the edition was 30), published by the artist, all framed. I. 5 7/8 x 5 7/8 in. (14.9 x 14.9 cm) S. 11 x 11 in. (27.9 x 27.9 cm) Estimate $4,000-6,000 Provenance Anthony d’Ofay Gallery, London, 1989 Literature Amy Baker Sandback RRG6/1-4 A Tale of Two Cities

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106

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Palermo

1943-1977

Siegel, 1970 Screenprint in colors, on heavy wove paper, the full sheet. Signed, dated and inscribed in pencil on the reverse, a dedicated proof aside from the edition of 100 (there were also 10 artist’s proofs), published by Edition Staeck, Heidelberg, framed. S. 24 3/4 x 19 1/8 in. (63 x 48.5 cm) Estimate $2,000-4,000 Literature Fred Jahn 14

Palermo

1943-1977

Projektion, 1971 Ofset lithograph in colors, on cardboard, with full margins, with the original paper folder. Signed, dated and numbered 141/150 in pencil (there were also 10 to 15 artist’s proofs), published by Belser Kunstverlag, Stuttgart, unframed. I. 7 5/8 x 14 1/8 in. (19.4 x 25.8 cm) S. 15 3/4 x 15 3/4 in. (40 x 40 cm) Estimate $1,000-1,500 Provenance Galerie Fred Jahn, Munich, 1990 Literature Fred Jahn 24

107

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Property from the Estate of Howard Karshan

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Various Artists Rubber Stamp, 1976-77 The complete set of 13 rubber stamp prints, on various papers, with margins and the full sheets, each contained in the original paper envelopes. All numbered 573/1000 in pencil on the reverse (Buren numbered 104/250, one of four color combinations of 250 each, there were no artist’s proofs), published by Parasol Press, Ltd., New York. twelve envelopes: 8 1/2 x 8 1/2 in. (21.6 x 21.6 cm) Martin envelope: 11 1/2 x 11 1/2 in. (29.2 x 29.2 cm) Estimate $1,800-2,500

Including: Daniel Buren, 1000 Placements, 1977; Don Nice, Bear with Pedella, 1976; Barry Le Va, Installation Floor Plan for any Space Surrounded by Four Walls, 1976; Sol LeWitt, Lines in Four Directions, 1976; Joe Zucker, The Relocation of Property by Natural Forces, 1976; Robert Mangold, A Square with Four Squares Cut Away, 1976; Carl Andre, Untitled, 1976; Richard Artschwager, Untitled, 1976; Myron Stout, Untitled, 1976; Sylvia Mangold, Six Inches Four Ways, 1976; Chuck Close, Phil, 1976; Tom Wesselmann, Shiny Nude, 1977 and Agnes Martin, Praise, 1976

Literature Barbara Krakow Gallery 1976.06 (LeWitt) A Tale of Two Cities

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108

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Richard Artschwager

1923-2013

Matrosen, 1972 Screenprint, on Rives BFK paper, with full margins. Signed, dated and numbered 159/180 in pencil, published by German Art Dealer Association, Cologne, framed. I. 14 3/4 x 13 1/8 in. (37.6 x 33.3 cm) S. 24 3/4 x 17 3/4 in. (62.9 x 45.1 cm) Estimate $800-1,200 Provenance Galerie Fred Jahn, Munich, 1989

109

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Property from the Estate of Howard Karshan

12/09/18 09:22


Sam Francis

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20th Century & Contemporary Art Evening Sale London, 5 October 2018 20th Century & Contemporary Art Day Sale London, 4 October 2018 Editions & Works on Paper New York, 17 October 2018 20th Century & Contemporary Art Day Sale New York, November 2018 New Now London, December 2018 New Now New York, March 2019

111

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Property from the Estate of Howard Karshan

12/09/18 09:23


Fernand Léger

1881-1955

Composition à l’échelle signed with the artist’s initials and dated “FL. 31” lower right India ink on paper 12 1/2 x 9 3/4 in. (31.8 x 24.8 cm.) Executed in 1931. Estimate $25,000-35,000 Provenance Galerie Louise Leiris, Paris Fuji Television Gallery, Tokyo Galerie Louis Carré, Paris Private Collection, Paris (acquired from the above in 1988-89) Christie’s, London, February 9, 2006, lot 617 Acquired at the above sale by the late owner A Tale of Two Cities

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Exhibited Milan, Palazzo Reale, Fernand Léger, November 11, 1989 - February 18, 1990, no. 106, pp. 163, 218 (illustrated, p. 163) Villeneuve d’Ascq, Musée d’art moderne, Fernand Léger, March 3 - June 17, 1990, no. 114, pp. 191, 244 (illustrated, p. 191) Paris, Galerie Berggruen & Cie, Fernand Léger: goauches, acquarelles et dessins, October 2 - November 9, 1996, no. 30, n.p. (illustrated) Literature Gilles Néret, Léger, Paris, 1990, no. 211, p. 162 (illustrated)

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Fernand Léger

1881-1955 Exhibited Basel, Galerie Beyeler, F. Léger, August - October 1969, no. 20, p. 66

Composition aux plumes ink on paper 12 1/2 x 9 3/4 in. (31.8 x 24.8 cm.) Executed in 1930. Estimate $20,000-30,000 Provenance Galerie Beyeler, Basel (acquired in 1969) Galerie Louise Leiris, Paris Private Collection, Paris Artemis Fine Arts SA, Geneva Acquired from the above by the late owner in October 2003

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Literature Eugène Guillevic, Coodonnées: Dessins de Fernand Léger, Paris and Geneva, 1948, p. 25 (illustrated) Jean Cassou and Jean Leymarie, Fernand Léger: Drawings and Gouaches, London, 1973, no. 143, p. 107 (illustrated, titled Plumes et objets dans l'espace)

Property from the Estate of Howard Karshan

12/09/18 09:23


James Ensor

1860-1949

Resurrection charcoal and pencil on paper, laid on paper 8 7/8 x 6 1/4 in. (22.5 x 15.9 cm.) Executed circa 1886. The Ensor Advisory Committee has kindly confrmed the authenticity of this work. Estimate $15,000-20,000 Provenance Ernest Rousseau, Brussels Jeanne Demany-Rousseau, Brussels Galerie Atelier, Ostend M. Knoedler Zurich AG (acquired by 1983) M. Knoedler & Co., Inc., New York Camillos Kouros Gallery, New York

A Tale of Two Cities

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Exhibited Brussels, Palais des Beaux Arts, James Ensor, January 19 - February 17, 1929, no. 71 (dated 1885) Antwerp, Koninklijk Museum voor Schone Kunsten, James Ensor, June 16 - August 15, 1951, no. 54 (dated 1885) Basel, Kunsthalle; MĂźnster, Landesmuseum, James Ensor, June 15 - August 4, 1963, no. 119 Rome, Palazzo dei Conservatori, Ensor: Dipinti-Disegni-Incisioni, July - August 1981, no. 47, p. 70 (illustrated) The Tel Aviv Museum, James Ensor, September 22 - November 7, 1981, no. 54, p. 95 Zurich, Kunsthaus, James Ensor, May 20 - July 31, 1983, no. 208

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Ernst Ludwig Kirchner

1880-1938

Woman Leaning Over Man pencil on paper 17 1/2 x 13 1/2 in. (44.5 x 34.3 cm.) Executed in 1907. Estimate $8,000-12,000 Provenance Richard Feigen Gallery, New York Feigen Palmer Gallery, Los Angeles Acquired by the late owner circa 1969

115

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Property from the Estate of Howard Karshan

12/09/18 09:24


Pablo Picasso

1881-1973

Nu couché et homme écrivant (Sleeping Nude and Man Writing) signed, numbered and dated “15.8.69. I Picasso” upper lef; further dated “15.8.69” on the reverse ink on paper 8 5/8 x 12 1/4 in. (21.9 x 31.1 cm.) Executed on 15 August 1969. Estimate $120,000-180,000 Provenance Private Collection Christie’s, London, November 28, 1989, lot 194 Acquired at the above sale by the late owner Literature Christian Zervos, Pablo Picasso, vol. 31, Paris, 1976, no. 382, pl. 110 (illustrated) The Picasso Project, ed., Picasso’s Paintings, Watercolors, Drawings and Sculpture: The Sixties III, 1968-69, San Francisco, 2003, no. 69-385, p. 226 (illustrated)

‘To draw, you must close your eyes and sing.’ Pablo Picasso

A Tale of Two Cities

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117

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Property from the Estate of Howard Karshan

12/09/18 09:24


Alexej von Jawlensky

1864-1941

Saint Prex am Genfersee (St Prex on Lake Geneva) signed, titled and dated “16.III.26. A Jawlensky St. Prex.” lower edge brush and wash on paper 8 1/4 x 6 5/8 in. (21 x 16.8 cm.) Executed in 1926. Estimate $2,000-3,000

A Tale of Two Cities

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Provenance Collection Kirchhof, Wiesbaden (?) Prof. Dr. Erich Wiese, Darmstadt Kornfeld und Klipstein, Bern, June 13-15, 1968, lot 469 Piccadilly Gallery, London (acquired at the above sale) Sotheby’s, London, June 2, 1971, lot 50 Acquired at the above sale by the late owner Literature Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky Bianconi, Alexej von Jawlensky: Catalogue Raisonné of the Watercolours and Drawings 1890-1938, London, 1998, vol. IV, no. 546, pp. 217-18 (illustrated, p. 217)

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Alberto Giacometti

1901-1966

Trois nus debout ballpoint pen on paper 8 1/2 x 3 5/8 in. (21.6 x 9.2 cm.) Executed circa 1960. Estimate $30,000-50,000 Provenance James Lord, Paris Galerie Claude Bernard, Paris Jeanne Frank, New York Julian Barran, Ltd., Welham Farm Private Collection (acquired from the above) Sotheby’s, London, February 4, 2004, lot 534 Acquired at the above sale by the late owner

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Property from the Estate of Howard Karshan

12/09/18 09:24


André Masson

1896-1987

Dessin automatique signed and dated “andré masson.” lower right ink on paper 16 x 11 3/4 in. (40.6 x 29.8 cm.) Executed in 1925-26. Mrs. Guite Masson has kindly confrmed the authenticity of this work. Estimate $6,000-8,000 Provenance Basil Jacobs Fine Art Ltd., London Acquired from the above by the present owner Exhibited London, Basil Jacobs Fine Art Ltd., André Masson: Drawings 1926-1970, June 22 - July 17, 1971, n.p. (illustrated)

A Tale of Two Cities

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George Grosz

1893-1959

Krieg Tumult signed and dated “Grosz 1917” lower right pen and ink and reed pen on paper 9 1/8 x 7 3/8 in. (23.2 x 18.7 cm.) Executed in 1914. The authenticity of this work has been confrmed by Ralph Jentsch. Estimate $15,000-20,000 Provenance The Artist, Berlin and Long Island Richard Feigen Gallery, Chicago (acquired in 1961) Richard and Sandra Feigen, New York Modern Art Museum of Forth Worth (gif from the above, December 1970) Sotheby’s, New York, November 6, 2003, lot 229 Acquired at the above sale by the late owner

Exhibited Chicago, Richard Feigen Gallery, George Grosz, January 18 - February 25, 1961, no. 33, p. 6 (titled Upheaval, dated 1917) Tyler Museum of Art; Wichita Falls Museum and Art Center; El Paso Museum of Art; Amarillo Art Center; Abilene Fine Arts Museum; Midland, Museum of the Southwest, Drawings: An exhibition of the Collection of the Fort Worth Art Museum, September 9, 1973 – May 7, 1974 (titled Upheaval, dated 1917) Longview Museum and Arts Center, 20th Century Drawings, 1974 Modern Art Museum of Fort Worth, Selections from the Permanent Collection: A 75th Anniversary Retrospective, 1976 Amarillo Art Center, Between the Wars, A Brief Survey of Art from 1918 - 1940, 1978 Cambridge, Kettle’s Yard, Modern Times: responding to chaos, January 16 - March 14, 2010, no. 30, p. 107 (illustrated, titled War Drawing, dated 1917) New York, The Metropolitan Museum of Art, World War I and the Visual Arts, July 31, 2017 - January 7, 2018, fg. 41, p. 29 (illustrated, titled War Drawing, dated 1917) Literature Natalie Haddad, “The International Modernisms of World War I”, Hyperallergic, December 9, 2017, online (illustrated, titled War Drawing, dated 1917)

121

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Property from the Estate of Howard Karshan

12/09/18 09:25


Matta

1911-2002

Untitled indistinctly inscribed lower edge graphite, colored pencil and crayon on paper 19 3/4 x 25 1/2 in. (50.2 x 64.8 cm.)

Estimate $12,000-15,000 Provenance Allan Frumkin Inc. (acquired directly from the artist) Christie’s, New York, May 23, 2012, lot 197 Acquired at the above sale by the late owner

A Tale of Two Cities

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Matta

1911-2002

To Picture Orbits for the Most Complex Conficts signed, titled and dated “to picture orbits for the most complex conficts Matta 49” lower right graphite and colored pencil on paper 9 3/4 x 13 3/4 in. (24.8 x 34.9 cm.) Executed in 1949, this work is accompanied by a certifcate of authenticity issued by Germana Ferrari Matta. Estimate $12,000-15,000 Provenance Private Collection, Pennsylvania Private Collection (acquired from the above) Christie’s, Paris, December 9, 2011, lot 58 Acquired at the above sale by the late owner

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Property from the Estate of Howard Karshan

12/09/18 09:31


Wifredo Lam

1902-1982

Untitled signed, inscribed and dated “Wilfredo Lam 1946 Paris” lower right ink and wash on paper 12 1/2 x 9 1/2 in. (31.8 x 24.1 cm.) Executed in 1946, this work is accompanied by a certifcate of authenticity issued by Lou Laurin Lam. Estimate $12,000-18,000

A Tale of Two Cities

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Provenance Pierre Loeb, Paris Galerie Natalie Seroussi, Paris Acquired by the late owner in 2007 Exhibited Paris, Galerie Albert Loeb, Wifredo Lam: oeuvres de 1938 à 1946, en hommage à Pierre Loeb, September 17 - October 12, 1974, n.p. (illustrated) Salzburg, Salzburger Landessammlungen Rupertinum, Ideal and Reality: The Image of the Body in 20th-Century Art from Bonnard to Warhol, Works on Paper, July 18 September 27, 1998, pp. 158, 271 (illustrated, p. 158)

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Oscar Dominguez

1906-1957

Nus des femmes signed and dated “Dominguez 51” lower lef ink and colored pencil on card 17 5/8 x 27 3/8 in. (44.8 x 69.5 cm.) Executed in 1951, this work is accompanied by a certifcate of authenticity issued by Ana Vázquez de Parga. Estimate $20,000-30,000

125

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Provenance Stéphane Janssen, La Hulpe Christie’s, London, February 8, 2007, lot 687 Acquired at the above sale by the late owner Exhibited Leverkusen, Städtisches Museum Schloss Morsbroich, dominquez, December 1, 1967 - January 14, 1968, no. 73, n.p. (illustrated)

Property from the Estate of Howard Karshan

12/09/18 09:36


Artist Focus / Jackson Pollock

‘I approach painting in the same sense as one approaches drawing; it’s direct.’ Jackson Pollock, interviewed by William Wright, summer 1950

Executed at the height of his career, Jackson Pollock’s Untitled is central among an important group of 1951 works on paper that exhibit the artist’s seminal relationship with spontaneity and his unconventional working method. For most of his career, Pollock’s use of paper was directly linked to his personal fnances and the political climate, resulting in the artist working with a support that was inexpensive, easily sourced, and made without the use of imported materials. However, the year of 1951 saw Pollock’s most experimental period as a draughtsman and a unique focus on the paper he chose to use. In November or December of 1950, sculptor and friend to the artist Tony Smith gifed Pollock previously unavailable Japanese paper, remarkable for its thin, almost translucent quality, which inspired him to explore new drawing techniques. Pollock worked with sheets of paper stacked upon one another, splattering or pouring ink onto the frst sheet and allowing it to seep through to the sheets below, and then modifying each sheet individually. Additionally, the artist reversed ink-stained sheets to form mirror images as the ink was visible on both sides due to the absorbency of the paper, a method evident in the present work. In Untitled, the bright pink colorant and dark blue ink applied to the reverse of the sheet appear as a ghostly, delicate hue that are a sublime mirror of the artist’s marks. In 1951, Pollock also created a number of drawings, including Untitled, on unique handmade paper made specifcally for him by Douglas Morse Howell at his Long Island studio using homegrown fax, linen tablecloths, denim, lace and fowers.

A Tale of Two Cities

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He commissioned paper from Howell afer seeing it used by Anne Ryan at Betty Parsons Gallery in 1951 at an exhibition of collages shown concurrently with works by his wife, Lee Krasner, highlighting the importance Pollock wanted the support to play in his drawings. The crevice-like textures and distinct colorations of this paper result in unforeseen results and irregular edges to the drawn lines such that in the fnal product, the sheet itself is of equal weight to the artist’s calligraphic marks. Discussing Pollock’s works on paper from 1951, art historian Bernice Rose describes: “Physically these drawings are characterized by their dematerialization of medium and their airy spaciousness… the only reference to the physical quality of his previous work is the density of soaked color as color, the way in which one way - or puddle of color overlays another, and the way edges meet, establishing a discrete physical identity in spite of actual fatness. These are among Pollock’s most painterly works” (Jackson Pollock: Drawing into Painting, exh. cat., The Museum of Modern Art, New York, 1980, pp. 21-22). While these drawings refect Pollock’s specifc interest in the materiality and efects of the Japanese and Howell paper, they were also created in dialogue with the artist’s Black Paintings created at this time, refecting the same limited color scheme, open composition, and the efects of staining. Exhibited recently at the Guggenheim in Berlin, Venice and New York in 2005-06 and Tate Liverpool in 2015, the present work manifests the sublime balance Pollock achieved between chance, materiality, and his inimitable use of line.

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Jackson Pollock in his Long Island studio, January 3, 1949 in East Hampton, New York. © Image by Arnold Newman/Getty Images

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Jackson Pollock

1912-1956

Untitled signed and dated “Jackson Pollock 51” lower right; further signed and inscribed “Jackson Pollock The Springs East Hampton” on the reverse of the backing board ink on Howell paper 18 x 22 in. (45.7 x 55.9 cm.) Executed in 1951. Estimate $180,000-250,000 Provenance Donald Braider, The Springs, East Hampton (gifed by the artist) Dr. and Mrs. Theodore J. Edlich, Jr., New York Bernstein & Waddington Gallery Ltd, Zurich Acquired from the above by the late owner in 1974 Exhibited New York, Brooklyn Museum Art School, Art Works from the Collection of Dr. and Mrs. Theodore J. Edlich, Jr., January 1 - 31, 1961, no. 23 (titled Abstraction) Berlin, Deutsche Guggenheim; Venice, Peggy Guggenheim Collection; New York, Solomon R. Guggenheim Museum, No Limits, Just Edges: Jackson Pollock Paintings on Paper, January 29, 2005 - September 29, 2006, no. 78, pp. 124, 129 (illustrated, p. 124) Tate Liverpool, Jackson Pollock: Blind Spots, June 30 - October 18, 2015, pp. 129, 157 (illustrated, p. 129) Literature Francis Valentine O’Connor and Eugene Victor Thaw, eds., Jackson Pollock: A Catalogue Raisonné of Paintings, Drawings and Other Works, Volume 3: Drawings, 1930-1956, no. 838, p. 314 (illustrated)

‘Physically these drawings are characterized by their dematerialization of medium and their airy spaciousness...’ (Bernice Rose in Jackson Pollock: Drawing into Painting, exh. cat., The Museum of Modern Art, New York, 1980, pp. 21-22)

A Tale of Two Cities

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Property from the Estate of Howard Karshan

12/09/18 09:37


‘I became really fascinated with the early work of Sam Francis, the work of the 1950s. To me, he was an heir of Jackson Pollock, I mean he worked with very thin paint and was dripping it and everything and his color was quite extraordinary. I wanted a Francis drawing for my collection and I looked for it but couldn’t fnd one. I had a conversation with Bob Lewin who owned the Brook Street Gallery, and I said “Bob, if you could fnd me one, I would buy it”. That is the great Sam Francis that’s hanging over our bed in London’ Howard Karshan

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Artist Focus / Sam Francis

This selection of four masterworks on paper by Sam Francis, each executed between 1950-1955 during an important and formative period of the artist’s prolifc career, exemplifes key stylistic characteristics that the artist explored throughout his oeuvre. California-born artist Sam Francis’ frst important paintings dating to 1947 were all executed on paper, and his devotion to paper as a medium was unwavering from that point forward. Throughout his career, Francis used paper as a medium for pictorial investigations, creating both autonomous works of art and studies for larger paintings. In her review of Francis’ exhibition at Martha Jackson Gallery in 1959, Dore Ashton discussed the successful qualities of the artist’s watercolors, which are also present in this selection of works: “The foating, the falling (helped by rivulets of color allowed to drop down), the gratuitous meetings in space, the junctures and coincidences which Francis is best equipped to express are endowed with a magic in watercolors that the oils do not possess” (Dore Ashton, quoted in Peter Selz, Sam Francis, New York, 1982, p. 73).

The myriad of grays in Francis’ work also harks back to the light of the Bay Area, with which Francis was intimately familiar, and recalls the sof gray-whites of Kazimir Malevich’s masterpiece White on White, 1918, which the artist had seen and admired at the Museum of Modern Art in New York.

In the fall of 1950, Francis moved to Paris from his native California afer a brief visit to New York. Francis long considered Paris the “mother city”, having frst been exposed to French culture by his own mother, who loved the language and traditions, and the city would come to nurture him at this determinative point in his career. Naturally an extrovert, Francis soon became a central member of a group of North American and Parisian artists and critics, and enrolled in Fernand Léger’s academy. Struck by the transient light of gloomy Paris skies, the artist found a studio in Paris, and his work shifed soon thereafer. Along with Francis' experience as a pilot in the U.S. Air Force during World War II, the sof gray color of the city was a stimulus for the frst paintings he made there, his famous white and gray series; Hydra, 1950, Untitled, circa 1950-52, and Untitled (Circle Entre Noir et Blanc), 1953-54, all executed in Paris, certainly refect the palpable infuence the city had on him at this time.

In this group of four early works on paper, Francis’ explorations into clarity and verticality are already apparent, preoccupations which would continuously be reafrmed in the artist’s work. In Hydra, 1950, Untitled, circa 1950-52, and Untitled (Circle Entre Noir et Blanc), 1953-54, organic forms are gathered at the center of the compositions with drips fowing down the sheets, leaving a distinct sense of clarity around the papers’ edges. Francis began to use drips in his work as early as 1949, a practice famously explored by Jackson Pollock as early as 1953, and Gorky by 1944. Furthermore, the four works refect Francis’ love for working on an intimate scale, and his hand is evident in the direct and seemingly spontaneous application of medium. As Francis once said of his process of painting on paper, “Images appear, they do not come from somewhere… from the soul. It is stealing from the gods. I want to be the paper” (Sam Francis, quoted in Pontus Hulten, Sam Francis, exh. cat. Kunst-und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, 1993, p. 26).

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Untitled, 1955, showcases Francis’ lifelong preoccupation with color. The artist discovered his genius for high and intense color in California where he was exposed to the colors of seminal artists such as Hans Hofmann, Clyford Still, Mark Rothko, and Ed Corbett, his teacher at University of California, Berkeley, where he completed his master of arts in 1950. In Untitled, 1955, the dense pattern of interlocking organic forms and bright colors imbue the composition with a palpable sense of energy, and the red and yellow corpuscules appear to be engaged in limitless movement, sufused with light from behind. Francis’ gif for color is evident in the endless infections of hues and density, allowing for a sense of openness despite the all-over composition.

Property from the Estate of Howard Karshan

12/09/18 09:37


Sam Francis

1923-1994

Untitled signed and dated “Sam Francis 1955” on the reverse watercolor on paper 9 1/2 x 7 1/2 in. (24.1 x 19.1 cm.) Executed in 1955. This work is identifed with the interim identifcation number of SF55-011 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation.

Provenance Galerie Kornfeld und Klipstein, Bern Gimpel Fils Gallery, Ltd., London (acquired in 1957) B.C. Holland, Chicago Waddington and Tooth Galleries, London (acquired in 1976) Acquired from the above by the late owner in 1977 Exhibited Bern, Galerie Kornfeld und Klipstein, Sam Francis: Ausstellung, September 25 - November 5, 1957, no. 16

Estimate $50,000-70,000

A Tale of Two Cities

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Sam Francis

1923-1994

Hydra signed, titled, inscribed and dated “Sam Francis 1950 Paris Hydra” on the reverse; further inscribed and numbered “S1-23B SF50-119” and stamped by the Sam Francis Estate on the reverse ink on paper 32 1/4 x 22 7/8 in. (81.9 x 58.1 cm.) Executed in 1950.

Provenance Estate of the Artist, California (1994) Gallery Delaive, Amsterdam (acquired in 1998) Acquired from the above by the late owner in 1998 Exhibited Paris, Galerie Jean Fournier, Sam Francis, de 1947 ˆ 1988, sur papier, October 21 - November 26, 1988

This work is identifed with the interim identifcation number of SF50-119 in consideration for the forthcoming Sam Francis: Catalogue RaisonnŽ of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. Estimate $30,000-40,000

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Property from the Estate of Howard Karshan

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Sam Francis

1923-1994

Untitled ink on paper 17 3/4 x 15 in. (45.1 x 38.1 cm.) Executed circa 1950-52. This work is identifed with the interim identifcation number of SF52-039 in consideration for the forthcoming Sam Francis: Catalogue RaisonnÊ of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. Estimate $15,000-20,000 Provenance Private Collection, California Sotheby’s, New York, November 15, 2001, lot 177 Acquired at the above sale by the late owner

A Tale of Two Cities

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Sam Francis

1923-1994

Untitled (Circle Entre Noir et Blanc) signed and dated “Sam Francis 1953, Dec.” on the reverse ink and watercolor on paper 21 1/2 x 17 in. (54.6 x 43.2 cm.) Executed in 1953-54. This work is identifed with the interim identifcation number of SF54-015 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. Estimate $40,000-60,000

Exhibited Hanover, Kestner-Gesellschaf, Sam Francis, April 25 - May 28, 1963, no. 31, p. 44 Bufalo, Albright-Knox Art Gallery; Washington, D.C., Corcoran Gallery of Art; New York, Whitney Museum of American Art; Dallas Museum of Fine Arts, Sam Francis Paintings 1947-1972, September 11, 1972 - March 18, 1973, no. 88, p. 108 (illustrated) New York, Robert Elkon Gallery, Sam Francis: The Fifies, December 11, 1974 - January 8, 1975 Literature Peter Selz, Sam Francis, New York, 1975, pl. 80, p. 151 (illustrated) Peter Selz, Sam Francis, New York, 1982, pl. 86, p. 163 (illustrated)

Provenance Paul Jenkins, New York Robert Elkon Gallery, New York (?) Minami Gallery, Tokyo (?) Christie’s, New York, September 23, 2003, lot 14 Acquired at the above sale by the late owner

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Property from the Estate of Howard Karshan

12/09/18 09:39


Willem de Kooning

1904-1997

Eight works: (i-viii) Untitled charcoal on paper (i-viii) 9 x 6 in. (22.9 x 15.2 cm.) Executed circa 1965-1980. Estimate $100,000-150,000 Provenance The Estate of the Artist Matthew Marks Gallery, New York Acquired from the above by the late owner in 1997 A Tale of Two Cities

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‘A model can take many different poses, but the only thing that counts is how the hand sets her on the paper. How she lives on the paper. I draw while she lives on the paper.’ Willem de Kooning

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Property from the Estate of Howard Karshan

12/09/18 09:39


Philip Guston

1913-1980

Camera Ready, Like a Dream signed with the artist’s initials “P.G.” lower right oil on paper 9 7/8 x 14 3/4 in. (25.1 x 37.5 cm.) Executed circa 1968. Estimate $15,000-20,000 Provenance Bill Berkson, California McKee Gallery, New York Acquired from the above by the late owner

A Tale of Two Cities

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Exhibited Andover, Addison Gallery of American Art; New York, The Drawing Center, Philip Guston’s Poem-Pictures, September 24, 1994 - July 28, 1995, p. 75 Tahíche, Fundación César Manrique, Línea y Poesía: Philip Guston, Musa McKim, June 25 - September 27, 1998, p. 74 (illustrated) Literature Bill Berkson, Enigma Variations, Berkeley, 1975, n.p. (illustrated) Michael Semf, ed., Philip Guston: Drawings for Poets, Munich, 2015, p. 106 (illustrated)

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Philip Guston

1913-1980

‘Howard and Linda met Philip Guston in the summer of 1972 at the Yale Summer School Programme in Norfolk, Conneticut hosted by Robert Reed, Linda’s former professor from Skidmore College. They were invited to hear Guston deliver one of his now-famous lectures, wherein he juxtaposed his early AbEx work with his new fguration- those Ku Klux Klan fgures which were initially panned by the critics. This caused him great distress.

Untitled signed and dated “Philip Guston ‘50” lower right ink on paper 18 x 22 7/8 in. (45.7 x 58.1 cm.) Executed in 1950. Estimate $40,000-60,000 Provenance McKee Gallery, New York Acquired from the above by the late owner

It was a striking lecture, proving that abstraction and fguration were not mutually exclusive.’ Linda Karshan

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Property from the Estate of Howard Karshan

12/09/18 17:57


William Anastasi

b. 1933

Subway Drawing signed and dated “12.4.68 W. Anastasi” on the reverse pencil on paper 11 x 13 7/8 in. (27.9 x 35.2 cm.) Executed in 1968. Estimate $8,000-12,000 Provenance Björn Ressle Fine Art, New York Acquired from the above by the late owner

A Tale of Two Cities

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Mark Tobey

1890-1976 Provenance Hanover Gallery, London Jean-Yves Mock, London and Paris Sotheby’s, Kensington Olympia, February 7, 2005, lot 74 Acquired at the above sale by the late owner

Composition With Blue and Red signed and dated “Tobey 67” lower right gouache on paper 10 x 6 7/8 in. (25.5 x 17.5 cm.) Executed in 1967. Achim Moeller, Managing Principal of the Mark Tobey Project LLC, has confrmed the authenticity. The work is registered in the Mark Tobey archive with the number MT [241-9-7-18] Estimate $6,000-8,000

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Property from the Estate of Howard Karshan

12/09/18 09:50


Wayne Thiebaud

b. 1920

Pie signed and dated “Thiebaud 1958” lower right gouache, watercolor, wax crayon and graphite on paper 8 1/8 x 9 1/4 in. (20.6 x 23.5 cm.) Executed in 1958. Estimate $80,000-120,000 Provenance Private Collection Christie’s, New York, November 14, 2002, lot 132 Acquired at the above sale by the late owner

‘I took three basic shapes to work with: a rectangle, an ellipse or a circle and a triangle. Well, that’s a piece of pie. A piece of pie is a triangle on a saucer… I chose a pie for a couple of reasons; because of its basic shape and because I had never seen a pie painted.’ Wayne Thiebaud

A Tale of Two Cities

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Property from the Estate of Howard Karshan

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Claes Oldenburg

b. 1929

Cake Slice indistinctly signed with the artist’s initials and dated “CO 1962” lower right watercolor, gouache and charcoal on paper 10 x 13 1/2 in. (25.4 x 34.3 cm.) Executed in 1962.

Exhibited The New York Cultural Center, 3D into 2D: Drawing for Sculpture, January 19 - March 11, 1973, no. 75, p. 31 Amsterdam, Stedelijk Museum; Stockholm, Moderna Museet, Claes Oldenburg: Tekeningen, aquarellen en grafek, August 30 - December 4, 1977, no. 37, p. 57

Estimate $20,000-30,000

Literature Gene Baro, Claes Oldenburg: Drawings and Prints, London, 1969, no. 123, p. 247

Provenance Sidney Janis Gallery, New York Dr. and Mrs. Aaron H. Esman, New York (acquired in 1969) 242 Inc., New York Acquired from the above by the late owner in 1997 A Tale of Two Cities

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Claes Oldenburg

b. 1929

Map of Chicago Stufed with Sof Numbers signed with the artist’s initials, inscribed and dated “chicago C.O. 1963” lower edge crayon on paper 23 1/2 x 17 3/4 in. (59.7 x 45.1 cm.) Executed in 1963.

Provenance Sidney Janis Gallery, New York Byron Gallery, New York Private Collection (acquired from the above in 1970) Matthew Marks Gallery, New York Acquired from the above by the late owner in 1998

Estimate $50,000-70,000

Literature Gene Baro, Claes Oldenburg: Drawings and Prints, London, 1969, no. 137, p. 248

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Property from the Estate of Howard Karshan

12/09/18 09:50


Robert Morris

b. 1931

Column, Two Positions, 1961 signed and dated “R. Morris 8/72” lower right ink and ink wash on paper 22 x 30 in. (55.9 x 76.2 cm.) Executed in 1972. Estimate $7,000-10,000

Exhibited Williamstown, Williams College Museum of Art; Williamstown, Sterling and Francine Clark Institute; Boston, Institute of Contemporary Art; Seattle Art Museum; Austin, Laguna Gloria Art Museum; Grand Rapids Art Museum; Otterlo, Rijksmuseum Kroller-Muller; Milan, Padiglione d’arte contemporanea, The Drawings of Robert Morris, 1982 – 1984, no. 64, n.p.

Provenance The Artist Abrams Family Collection, New York Christie’s, New York, February 20, 2002, lot 177

A Tale of Two Cities

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Carl Andre

b. 1935

7 Copper Weather Row copper, in 7 parts each 6 x 6 in. (15.2 x 15.2 cm.) overall 6 x 42 in. (15.2 x 106.7 cm.) Executed in 1980, this work is accompanied by a certifcate of authenticity signed by the artist. Estimate $50,000-70,000

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Provenance Paula Cooper Gallery, New York Acquired from the above by the present owner in 1990 Exhibited New York, Paula Cooper Gallery, 1980 Literature Carl Andre, exh. cat., Haags Gemeentemuseum Den Haag, The Hague, 1987, no. 18, p. 134

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Agnes Martin

1912-2004

Untitled signed and dated “a martin ‘65” on the reverse graphite on paper image 8 1/2 x 7 1/2 in. (21.6 x 19.1 cm.) sheet 11 7/8 x 9 3/8 in. (30.2 x 23.8 cm.) Executed in 1965, this work will be included in an upcoming Catalogue Raisonné to be published digitally by Artifex Press. Estimate $60,000-80,000 Provenance The Elkon Gallery, New York Galerie Hauser & Wirth, Zurich Private Collection (acquired from the above) Sotheby’s, New York, May 16, 2002, lot 175 Acquired at the above by sale by the late owner

‘When I first made a grid I happened to be thinking of the innocence of trees and then this grid came into my mind and I thought it represented innocence, and I still do, and so I painted it and then I was satisfied. I thought, this is my vision.’ Agnes Martin

A Tale of Two Cities

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Property from the Estate of Howard Karshan

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Mel Bochner

b. 1940

Untitled (Estimating an 8” x 8” Square) each signed, titled, inscribed and dated “ESTIMATING AN 8” x 8” SQUARE RED LINE: DRAWN FIRST, FREE HAND GREY LINE: DRAWN SECOND, MEASURED MEL BOCHNER, 1972” lower lef pencil and colored pencil on paper, in 2 parts each 11 x 14 in. (27.9 x 35.6 cm.) Executed in 1972. Estimate $15,000-20,000 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in 1988 A Tale of Two Cities

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Sol LeWitt

1928-2007

Untitled signed “Sol LeWitt” lower lef ink on paper 10 1/4 x 10 1/4 in. (26 x 26 cm.) Executed circa 1960s-1970s. Estimate $30,000-40,000 Provenance Private Collection Sotheby’s, London, October 26, 1989, lot 449 Acquired at the above sale by the late owner

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Property from the Estate of Howard Karshan

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Sol LeWitt

1928-2007

Incomplete Open Cube 6/10 inscribed “6/10 x” lower lef and signed and dated “Lewitt 1974” lower right graphite and ink on paper 12 x 12 in. (30.5 x 30.5 cm.) Executed in 1974. Estimate $8,000-12,000 Provenance John Weber Gallery, New York Acquired from the above by the late owner in 1990 Exhibited Bufalo, Albright-Knox Art Gallery, October 1976 - October 1977

A Tale of Two Cities

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Sol LeWitt

1928-2007

Incomplete Open Cube 6/21 inscribed “6/21 x” lower lef and signed and dated “Lewitt 1974” lower right graphite and ink on paper 12 x 12 in. (30.5 x 30.5 cm.) Executed in 1974. Estimate $8,000-12,000 Provenance John Weber Gallery, New York Acquired from the above by the late owner in 1990 Exhibited Madison, Drew University, November 15 - December 13, 1975 Bufalo, Albright-Knox Art Gallery, October 1976 - October 1977

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Property from the Estate of Howard Karshan

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Artist Focus / Bruce Naumam

sculpture dedicated to the mysterious “Slant Step”. His 1966 sculpture titled Mold for a Modernized Slant Step was a central work in an exhibition titled The Slant Step Show, which took place the same year at the Berkeley Gallery in San Francisco, organized by poet and playwright William Witherup. Nauman’s sculpture, intended as a model cast for an edition, but instead lef alone as a fnished piece, is now housed in the permanent collection of the Museum of Contemporary Art, Chicago, while the original green rubber and linoleum “Slant Step” was donated to UC Davis’s permanent art collection in 2012.

Bruce Nauman and True Artist is a Luminous Fountain Screen, 1966. Image Jack Fulton / Art Resource, NY, Artwork © 2018 Bruce Nauman / Artists Rights Society (ARS), New York

Used to both reconcile and construct his sculptural, performative and installation pieces, Bruce Nauman’s drawings ofer a unique look at the evolution of his creative process, one which continues today. As Robert Storr espoused on the occasion of an exhibition of Nauman’s work in 2002, “one should linger over the drawings. Patient concentration will be rewarded with the realization that Nauman, constant experimenter and eager pioneer of new media, is also a master of the most fundamental means of representation” (Robert Storr, Bruce Nauman: Neons, Sculptures and Drawings, exh. cat., Van de Weghe Fine Art, New York, 2002, p. 16). The following two drawings by Bruce Nauman, executed between 1966 and 1970, illuminate the artist’s ongoing exploration of the formal and conceptual qualities of art, certainly deserving of close inspection. In 1965, as a graduate student at University of California, Davis, Nauman and his teacher William Wiley came across the “Slant Step”, a seemingly ordinary step stool covered with black rubber and green linoleum. Wiley found the object nearby at the Mount Carmel Salvage Shop in Mill Valley and was perplexed by its lack of functionality—should one step on the surface tilted at a 45-degree angle, one would be sure to slip. Together with Wiley, Nauman studied the peculiar object, which in turn infuenced a series of drawings and a plaster A Tale of Two Cities

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The drawing Modern (Production) Slant Stool, executed in the same year as Nauman’s plaster Mold for a Modernized Slant Step, explores the peculiar object’s form. Notations around the work ofer an intimate look at Nauman’s refections on its structure in his attempts to reconstruct the three-dimensional form on a two-dimensional surface. The artist’s hand is evident in the ghostly, erased graphite lines beneath the outer contour of the stool, and also in the annotations surrounding the sketch, with crossed-out inscriptions and descriptive arrows. The early part of the artist’s career to which this drawing belongs marked a pivotal point in Nauman’s development as a conceptual artist. Afer giving up painting in the early 1960s, his studies at UC Davis transformed his work from fgurative abstraction to a multi-disciplinary approach to post-modern sculpture and installation, and Nauman’s earliest drawings, like the present work, ofer the most intimate look at the artist’s evolving practice. Indeed, Nauman has relied on the medium of drawing throughout his entire career, providing the foundation for his most complex works. He ofen goes back and forth between preparatory diagrams to fnished blueprint-like drawings. As he has stated, “Yes, I work in that way a lot, where there are drawings, and then the work, and then more drawings to fgure out what I’ve done, to help me resolve what I’m in as opposed to what I thought I was doing when I got started” (Bruce Nauman, quoted in “Ingrid Schafner, Circling Oblivion/Bruce Nauman through Samuel Beckett”, Bruce Nauman, Baltimore, 2002, p. 164).

‘I work in that way a lot, where there are drawings, and then the work, and then more drawings to figure out what I’ve done…’ Bruce Nauman

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This process is evident too in RAW/WAR, 1968-1970, one of just a few drawings related to Nauman’s 1970 neon work Raw War, housed in the permanent collection of the Baltimore Museum of Art, wherein the words “RAW” and “WAR” are fashed alternately. Atop and beneath the drawing of six neon letters, Nauman has annotated “ruby red” and “pale purple”, describing the colors used in the neon tubing. Likely made before the realization of the installed neon, this drawing, once again, provides us with an in-depth look into Nauman’s creative process. Related works on paper done afer the neon illuminate his ongoing fascination with the palindromic phrase “RAW WAR”, including a 1971 lithograph housed in the permanent collection of the Tate, London. RAW/WAR occupies a time in Nauman’s career when he became preoccupied with not only the formal efects of lettering and language, but also its conceptual implications. He said, “I am really interested in the diferent ways that language functions. That is something I think a lot about, which also raises questions about how the brain and the mind work…the point where language starts to break down as a useful tool for communication is the same edge where poetry or art occurs” (Bruce Nauman, quoted in Christopher Cordes, Bruce Nauman: Prints 1970-89, New York, 1989, p. 25).

Bruce Nauman, Raw War, 1970 The Baltimore Museum of Art, Artwork © 2018 Bruce Nauman / Artists Rights Society (ARS). Courtesy Electronic Arts Intermix (EAI), New York, Image Mitro Hood

Slant Step, 20th century The Fine Arts Collection, Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis

Executed during the height of America’s involvement with the Vietnam War, this work elicits an emotional reaction in viewers when taken out of the context of Nauman’s artistic output. The adjective “raw” helps describe the violent acts committed in the political climate of the late 20th century, referring to a physical and emotional rawness as a collective reaction to war, one that is ever more poignant in today’s day and age. As such, Nauman uses his multi-disciplinary approach to art as a tool to connect with his viewers through seemingly simple aesthetics and materials. Masterpieces in their own right, these two works highlight the importance of drawing in Nauman’s oeuvre. As the artist declared of all of his work, “If I was an artist and I was in the studio, then whatever I was doing in the studio must be art” (Bruce Nauman, quoted in Ian Wallace and Russell Keziere, “Bruce Nauman Interviewed,” Vanguard (Canada) 8, no. 1, February 1979, p. 18). 155

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Property from the Estate of Howard Karshan

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Bruce Nauman

b. 1941

RAW/WAR signed, inscribed and dated “study for a neon sign - 1968/70 Bruce Nauman” lower center graphite, ink and colored pencil on paper 23 x 16 in. (58.4 x 40.6 cm.) Executed in 1968-1970. Estimate $100,000-150,000

Exhibited Basel, Museum für Gegenwartskunst; Kunsthalle Tübingen; Kunstmuseum Bonn; Rotterdam, Museum Boijmans Van Beuningen; Kunstraum München; Badischer Kunstverein Karlsruhe; Kunsthalle Hamburg; New York, The New Museum of Contemporary Art; Houston, Contemporary Arts Museum; Los Angeles, The Museum of Contemporary Art; Berkeley, University Art Museum, Bruce Nauman Drawings 1965-1986, May 17, 1986 - July 10, 1988, no. 71, n.p. (illustrated)

Provenance Private Collection, Germany Kunsthaus Lempertz, Cologne, May 28, 1999, lot 337 Acquired at the above sale by the late owner A Tale of Two Cities

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Bruce Nauman

b. 1941

Modern (Production) Slant Stool titled and inscribed lower lef “modern (production) slant stool mold editions cast in fberglass” and signed and dated “B. Nauman 66” lower right graphite and pastel on paper 20 x 15 7/8 in. (50.8 x 40.3 cm.) Executed in 1966. Estimate $50,000-70,000 Provenance 242 Inc., New York Acquired from the above by the late owner in 1997

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Property from the Estate of Howard Karshan

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Fred Sandback

1943-2003

Untitled each signed with the artist’s initials “FLS” lower right graphite and crayon on paper, in 4 parts each 8 x 35 in. (20.3 x 88.9 cm.) Executed circa 1972. Estimate $20,000-30,000 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in 1989

A Tale of Two Cities

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158

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© Holt/Smithson Foundation, licensed by VAGA at ARS, New York

Robert Smithson

1938-1973

Spiral Jetty titled and dated “Spiral Jetty 1970” lower right crayon and felt-tip pen on paper 19 x 23 3/4 in. (48.3 x 60.3 cm.) Executed in 1970. Estimate $15,000-20,000 Provenance The Estate of the Artist John Weber, New York Private Collection, London The Mayor Gallery, London Acquired from the above by the late owner in 1990 159

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Exhibited The New York Cultural Center, Robert Smithson: Drawings, April 19 - June 16, 1974, no. 71, pp. 54, 88 (illustrated, p. 54) Valencia, IVAM, Centre Julio Gonzalez, Robert Smithson: Une Retrospective: le paysage entropique, 1960 – 1973, April 22 – June 13, 1993, pp. 191, 228 (illustrated, p. 191) London, Frith Street Gallery and Karsten Schubert, From Figure to Object: A Century of Sculptors’ Drawings, September 12 - November 2, 1996, n.p. (illustrated)

Property from the Estate of Howard Karshan

12/09/18 09:53


Robert Mangold

b. 1937

Ellipse Within a Rectangle #2 signed and dated “R. Mangold 1972” lower lef and titled “ELLIPSE WITHIN A RECTANGLE #2” lower right acrylic and graphite on paper, laid on card 11 1/4 x 14 1/8 in. (28.5 x 35.8 cm.) Executed in 1972. Estimate $10,000-15,000 Provenance Lisson Gallery, London Acquired from the above by the late owner

A Tale of Two Cities

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160

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Richard Tuttle

b. 1941

Three Drawings from the Whitney Series (i) pencil on paper (ii-iii) pencil and gouache on paper each 36 x 30 in. (91.4 x 76.2 cm.) Executed in 1971. Estimate $15,000-20,000 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in 1989

161

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Property from the Estate of Howard Karshan

12/09/18 09:53


Joel Shapiro

b. 1941

Untitled signed and dated “1985 SHAPIRO” on the underside oil on wood 9 7/8 x 15 3/8 x 12 1/4 in. (25 x 39 x 31 cm.) Executed in 1985-86. Estimate $7,000-10,000 Provenance Paula Cooper, New York Acquired from the above by the late owner in 1987

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12/09/18 12:30


Joel Shapiro

b. 1941

Untitled signed and dated “SHAPIRO 86” on the reverse charcoal on paper 30 3/4 x 43 1/4 in. (78.1 x 109.9 cm.) Executed in 1986. Estimate $15,000-20,000 Provenance Paula Cooper Gallery, New York Acquired from the above by the late owner Exhibited Oslo, Kunstnernes Hus, Kunsten a Tegne, The Art of Drawing, May 5 - June 1, 1990, no. 57, p. 28

163

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Property from the Estate of Howard Karshan

12/09/18 09:54


Gerhard Richter

b. 1932

Ohne Titel (2.2.89) signed and dated “Richter 2.2.89” lower right oil on photograph 5 3/4 x 3 7/8 in. (14.6 x 10.1 cm.) Executed in 1989. Estimate $30,000-40,000 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner Literature http://www.gerhard-richter.com, Catalogue Raisonné, online

A Tale of Two Cities

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164

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Gerhard Richter

b. 1932

Ohne Titel (2.1.89) signed and dated “Richter 2.1.89” center right oil on photograph 5 x 7 in. (12.7 x 17.8 cm.) Executed in 1989. Estimate $30,000-40,000 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner Literature http://www.gerhard-richter.com, Catalogue Raisonné, online

165

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Property from the Estate of Howard Karshan

12/09/18 09:54


William Nelson Copley

1919-1996

Untitled signed and dated “CPLY 64” lower right ink on paper 24 x 19 in. (61 x 48.3 cm.) Executed in 1964. Estimate $5,000-7,000 Provenance Sir Roland Penrose, United Kingdom The Mayor Gallery, London Acquired from the above by the late owner in 1991

Raymond Pettibon

b. 1957

Untitled (Flick) signed and dated “Raymond Pettibon 91” on the reverse ink and watercolor on paper 22 1/8 x 17 in. (56.2 x 43.2 cm.) Executed in 1991. Estimate $10,000-15,000

A Tale of Two Cities

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166

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Marlene Dumas

b. 1953

The Apple signed, titled and dated “the apple Marlene 1994� upper right watercolor and ink on paper 10 1/4 x 13 in. (26 x 33 cm.) Executed in 1994. Estimate $20,000-30,000 Provenance Galerie Paul Andriesse, Amsterdam Acquired from the above by the late owner in 1997

167

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Property from the Estate of Howard Karshan

12/09/18 09:55


Henri Michaux

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12/09/18 09:56


20th Century & Contemporary Art Evening Sale London, 5 October 2018 20th Century & Contemporary Art Day Sale London, 4 October 2018 Editions & Works on Paper New York, 17 October 2018 20th Century & Contemporary Art Day Sale New York, November 2018 New Now London, December 2018 New Now New York, March 2019

169

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Property from the Estate of Howard Karshan

12/09/18 09:56


Sigmar Polke

1941-2010

Ohne Titel (Rechteck) (Untitled (Rectangle)) signed and dated ‘Polke 63’ lower right ballpoint pen on paper 29.8 x 21.3 cm (11 3/4 x 8 3/8 in.) Executed in 1963. Estimate £8,000-12,000 $10,300-15,500 €8,900-13,400 ‡ ♠ Provenance David Nolan Gallery, New York Acquired from the above by the late owner Exhibited San Francisco Museum of Modern Art; Washington, D.C., Hirshhorn Museum and Sculpture Garden, Smithsonian Institution; Chicago, Museum of Contemporary Art; New York, The Brooklyn Museum, Sigmar Polke, 15 November 1990 - 6 January 1992, no. 86, p. 150 Literature Sigmar Polke Zeichnungen 1963-1969, Bern-Berlin, 1987, n.p., no. 6 (illustrated) Johannes Gachnang, Sigmar Polke The Early Drawings 1963-1969, Bern, 1991, pp. 9, 117, no. 6 (illustrated, p. 9) We are most grateful to Mr. Michael Trier, Artistic Director from the Estate of Sigmar Polke, for his assistance.

Sigmar Polke

1941-2010

Ohne Titel (Dreieck) (Untitled (Triangle)) signed and dated ‘S. Polke 68’ lower right watercolour on graph paper 21 x 14.6 cm (8 1/4 x 5 3/4 in.) Executed in 1968. Estimate £8,000-12,000 $10,300-15,500 €8,900-13,400 ‡ ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner We are most grateful to Mr. Michael Trier, Artistic Director from the Estate of Sigmar Polke, for his assistance. A Tale of Two Cities

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170

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Dieter Roth

1930-1998

Landscape signed with the artist’s initials ‘D. R.’ lower right; further dated ‘68’ lower center acrylic and chocolate on Düsseldorf postcard, mounted on cardboard postcard 15.3 x 20.4 cm (6 x 8 in.) Executed in 1968. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡ Provenance Galerie Fred John, Munich Acquired from the above by the late owner in May 1989

Enzo Cucchi

b. 1950

Untitled signed and dated ‘1983 Enzo Cucchi’ on the reverse graphite and ink on paper 40 x 30.2 cm (15 3/4 x 11 7/8 in.) Executed in 1983. Estimate £1,500-2,000 $1,900-2,600 €1,700-2,200 ♠ 171

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Property from the Estate of Howard Karshan

12/09/18 09:56


Arnulf Rainer

b. 1929

Einsame Dschunke signed ‘Rainer’ lower right; further titled ‘Einsame Dschunke’ lower lef oil and grease pencil on photograph mounted on aluminum plate 30 x 25 cm (11 3/4 x 9 7/8 in.) Executed in 1973. Estimate £8,000-12,000 $10,300-15,500 €8,900-13,400 ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in November 1988 Exhibited Leverkusen, Museum Morsbroich; Regensburg, Städtische Galerie; Braunschweig, Kunstverein, Arnulf Rainer: Zeichnungen 1949 - 1985, 30 November 1988 - 30 July 1989, p. 125 (illustrated)

Arnulf Rainer

b. 1929

Ohne Titel oil and grease pencil on photograph mounted on aluminium plate 29.8 x 24.8 cm (11 3/4 x 9 3/4 in.) Executed in 1973. Estimate £8,000-12,000 $10,300-15,500 €8,900-13,400 ‡ ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in November 1988

Arnulf Rainer

b. 1929

Ohne Titel signed with the artist’s initial ‘R’ lower lef oil and grease pencil on photograph mounted on aluminum plate 25.2 x 30.2 cm (9 7/8 x 11 7/8 in.) Executed in 1973. Estimate £4,000-6,000 $5,200-7,800 €4,500-6,700 ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in November 1988 Exhibited Leverkusen, Museum Morsbroich; Regensburg, Städtische Galerie; Braunschweig, Kunstverein, Arnulf Rainer: Zeichnungen 1949 - 1985, 30 November 1988 - 30 July 1989, p. 128 (illustrated) A Tale of Two Cities

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172

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Arnulf Rainer

b. 1929

Jagd (Hunting) signed and indistinctly inscribed ‘A. Rainer’ lower lef charcoal on Ultraphan sheet, taped to paper 31.8 x 50.2 cm (12 1/2 x 19 3/4 in.) Executed in 1970. Estimate £4,000-6,000 $5,200-7,800 €4,500-6,700 ‡ ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in 1988

Arnulf Rainer

b. 1929

Taenzer Paar (Dancing Couple) signed, indistinctly inscribed and titled ‘Tänzer Paar A. Rainer’ lower right oilstick and graphite on paper 34.9 x 25.1 cm (13 3/4 x 9 7/8 in.) Executed in 1967-1971. Estimate £6,000-8,000 $7,800-10,300 €6,700-8,900 ‡ ♠ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in 1988 Exhibited Munich, Galerie Fred Jahn, Arnulf Rainer Zeichnungen 1967/71, June 1988, n.p. (illustrated) 173

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Property from the Estate of Howard Karshan

12/09/18 09:56


Luc Tuymans

b. 1958

Untitled signed and dated ‘Luc Tuymans ‘89’ lower right watercolour on paper 19.8 x 19.8 cm (7 3/4 x 7 3/4 in.) Executed in 1989. Estimate £3,000-4,000 $3,900-5,200 €3,300-4,500 ♠ Provenance Zeno X Gallery, Antwerp Acquired from the above by the late owner

Luc Tuymans

b. 1958

Untitled signed and dated ‘Luc Tuymans ‘89’ lower right watercolour and ink on paper 11.2 x 15 cm (4 3/8 x 5 7/8 in.) Executed in 1989. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠ Provenance Zeno X Gallery, Antwerp Acquired from the above by the late owner

Luc Tuymans

b. 1958

Untitled signed and dated ‘Luc Tuymans ‘86’ lower right watercolour on paper 21 x 27 cm (8 1/4 x 10 5/8 in.) Executed in 1986. Estimate £3,000-4,000 $3,900-5,200 €3,300-4,500 ‡ ♠ Provenance Zeno X Gallery, Antwerp Acquired from the above by the late owner in 1999 A Tale of Two Cities

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174

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Luc Tuymans

b. 1958

Untitled signed and dated ‘Luc Tuymans ‘90’ lower right acrylic and graphite on paper 27 x 21 cm (10 5/8 x 8 1/4 in.) Executed in 1990. Estimate £5,000-7,000 $6,500-9,100 €5,600-7,800 ♠ Provenance Zeno X Gallery, Antwerp Acquired from the above by the late owner

Luc Tuymans

b. 1958

Untitled (Head) signed and dated ‘Luc Tuymans’ ‘90’ lower right gouache and graphite on paper 27 x 21 cm (10 5/8 x 8 1/4 in.) Executed in 1990. Estimate £2,500-3,500 $3,200-4,500 €2,800-3,900 ‡ ♠ Provenance Zeno X Gallery, Antwerp Acquired from the above by the late owner 175

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Property from the Estate of Howard Karshan

12/09/18 09:57


Henri Michaux

1899-1984

Grau-rosa Elephanten signed with the artist’s initials ‘HM’ lower right gouache on paper 50.5 x 66 cm (19 7/8 x 25 7/8 in.) Executed in 1956. Estimate £4,000-6,000 $5,200-7,800 €4,500-6,700 Provenance Daniel Cordier Galerie Di Méo, Paris Acquired from the above by the late owner Literature Fred Jahn and Michael Krüger, Henri Michaux Bilder Aquarelle Zeichnungen Gedichte Aphorismen 1942-1984, Munich, 1987, p. 95 (illustrated) Exhibited Munich, Galerie Fred Jahn, Henri Michaux, 1987 New York, David Nolan Gallery, Henri Michaux, Paintings and Drawings 1950 to 1982, 1988

Henri Michaux

1899-1984

Sans titre signed with the artist’s initials ‘HM’ lower right watercolour and ink on paper 50.5 x 32.4 cm (19 7/8 x 12 3/4 in.) Executed circa 1955. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡ Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in February 1990

Henri Michaux

1899-1984

Sans titre signed with the artist’s initials ‘HM’ lower lef gouache and watercolour on paper 32.4 x 25.4 cm (12 3/4 x 10 in.) Executed in 1981. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡ Provenance Galerie Point Cardinal, Paris Galerie Fred Jahn, Munich Acquired from the above by the late owner in February 1989 Exhibited New York, David Nolan Gallery, Henri Michaux, 1988, p. 4 (illustrated) London, Whitechapel Art Gallery, Inner Worlds Outside Exhibition, 28 April - 25 June 2006 Literature Fred Jahn and Michael Krüger, Henri Michaux Bilder Aquarelle Zeichnungen Gedichte Aphorismen 1942-1984, Munich, 1987, p. 128 (illustrated) A Tale of Two Cities

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176

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Henri Michaux

Henri Michaux

1899-1984

Sans titre signed ‘h. michaux’ on the reverse watercolour and india ink on paper 31.8 x 24.1 cm (12 1/2 x 9 1/2 in.) Executed circa 1946-1948.

Mouvements signed with the artist’s initials ‘HM’ lower right; further signed with the artist’s initials ‘HM’ on the reverse ink on paper 31.8 x 24.1 cm (12 1/2 x 9 1/2 in.) Executed in 1951.

Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡

Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡

Provenance Galerie Di Méo, Paris Acquired from the above by the late owner

Provenance Galerie Di Méo, Paris Galerie Lelong, Zurich Artcurial, Paris, 10 December 2003, lot 494A Acquired at the above sale by the late owner

Exhibited London, Whitechapel Art Gallery, Henri Michaux Exhibition, 19 February - 25 April 1999 London, Whitechapel Art Gallery, Inner Worlds Outside Exhibition, London, 28 April - 25 June 2006

Exhibited Paris, Musée National d'Art Moderne, Retrospective Henri Michaux, 1965, no. 77, n.p. (illustrated) Palma, Galleria D'Arte Niccoli, Henri Michaux, 1989, p. 29 177

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1899-1984

Property from the Estate of Howard Karshan

12/09/18 09:57


Richard Wentworth

b. 1947

Proft & Loss signed, titled and dated ‘Richard Wentworth March/ April 1985 ‘PROFIT & LOSS’’ on the underside edge steel and brass 40 x 70 x 47 cm (15 3/4 x 27 1/2 x 18 1/2 in.) Executed in March - April 1985. Estimate £1,500-2,000 $1,900-2,600 €1,700-2,200 ♠ Provenance Bonham’s, London, Charity Auction in aid of Biafra Acquired at the above sale by the late owner

Miriam Cahn

b. 1949

Untitled - A folio of drawings signed, numbered and dated ‘141 6.1.5 ... M. 10.8.86’ on front sheet charcoal on paper on ten sheets closed 42.5 x 32 cm (16 3/4 x 12 5/8 in.) open 42.5 x 62 cm (16 3/4 x 24 3/8 in.) Executed in 1986. Estimate £1,500-2,000 $1,900-2,600 €1,700-2,200 Provenance Stampa, Basel Acquired from the above by the late owner in July 1987

Silvia Bächli

b. 1956

Untitled signed with the artist’s initials and dated ‘S.B. 07’ on the reverse; further signed with the artist’s initials and dated ‘S.B. 07’ on a paper label afxed to the reverse of the backing board india ink on paper 43.8 x 61.9 cm (17 1/4 x 24 3/8 in.) Executed in 2007. Estimate £3,000-4,000 $3,900-5,200 €3,300-4,500 ‡ Provenance Peter Freeman, Inc., New York Acquired from the above by the late owner in 2008 Exhibited New York, Peter Freeman, Inc., Silvia Bächli, 24 January - 22 March 2008, no. 3, n.p. (illustrated) A Tale of Two Cities

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Silvia Bächli

b. 1956

Untitled signed with the artist’s initials and dated ‘S.B. 07’ on the reverse gouache on paper 80 x 60 cm (31 1/2 x 23 5/8 in.) Executed in 2007. Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ‡ Provenance Peter Freeman, Inc., New York Acquired from the above by the late owner in 2008 Exhibited New York, Peter Freeman, Inc., Silvia Bächli, 24 January - 22 March 2008, n.p. (illustrated)

Grenville Davey

b. 1961

Untitled enamel paint on steel 108 x 108 x 9 cm (42 1/2 x 42 1/2 x 3 1/2 in.) Estimate £2,000-3,000 $2,600-3,900 €2,200-3,300 ♠ Provenance Lisson Gallery, London Acquired from the above by the late owner

179

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Property from the Estate of Howard Karshan

12/09/18 13:00


Joel Shapiro

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12/09/18 12:31


20th Century & Contemporary Art Evening Sale London, 5 October 2018 20th Century & Contemporary Art Day Sale London, 4 October 2018 Editions & Works on Paper New York, 17 October 2018 20th Century & Contemporary Art Day Sale New York, November 2018 New Now London, December 2018 New Now New York, March 2019

181

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Property from the Estate of Howard Karshan

12/09/18 10:01


(ii) (i)

(iii)

(iv)

Carroll Dunham

b. 1949

Four Works: (i) Untitled (11/7/82); (ii) Untitled (11/13/82); (iii) Untitled (12/24/82); (iv) Untitled (7/7/83) (i) signed with the artist’s initials and dated “CD 11/7/82” upper right (ii) dated “11/13/82” upper right (iii) dated “12/24/82” upper right (iv) signed with the artist’s initials and dated “7/7/83 CD” lower right (i) casein, pencil and ballpoint pen on wood paper (ii-iv) pencil on paper (i) 9 7/8 x 7 5/8 in. (25 x 19.5 cm.) (ii) 9 x 7 1/8 in. (23 x 18 cm.) (iii) 8 1/4 x 5 1/2 in. (21 x 14 cm.) (iv) 11 x 8 5/8 in. (28 x 22 cm.) (i-iii) Executed in 1982. (iv) Executed in 1983. A Tale of Two Cities

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Estimate $8,000-12,000 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in 1988 Exhibited Munich, Galerie Fred Jahn, Carroll Dunham: Drawings 1982-1983, 1988, pp. 51, 80, 86, 90 (illustrated)

182

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Carroll Dunham

b. 1949

Untitled signed and dated “3/14/88 C. Dunham” lower right crayon and graphite on paper 12 1/2 x 16 3/4 in. (31.8 x 42.5 cm.) Executed in 1988. Estimate $6,000-8,000 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner

Raymond Pettibon

b. 1957

Untitled (Raising a Hand to the Clouds...) signed and dated “Raymond Pettibon 93” on the reverse ink on paper 12 x 16 3/4 in. (30.5 x 42.5 cm.) Executed in 1993. Estimate $6,000-8,000 Provenance Galerie Krinzinger, Vienna Acquired from the above by the late owner in 1999

William Nelson Copley

1919-1996

Untitled signed and dated “CPLY 64” lower lef ink on paper 24 x 18 in. (61 x 45.7 cm.) Executed in 1964. Estimate $4,000-6,000 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner

183

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Property from the Estate of Howard Karshan

12/09/18 10:01


William Nelson Copley

1919-1996

Untitled signed and dated “CPLY 64” lef edge ink on paper 24 x 19 in. (61 x 48.3 cm.) Executed in 1964. Estimate $3,000-5,000 Provenance Sir Roland Penrose The Mayor Gallery, London Acquired from the above by the late owner in 1991

Eric Fischl

b. 1948

Untitled signed and dated “Fischl 83” upper lef oil on printed paper 14 x 11 1/4 in. (35.6 x 28.6 cm.) Executed in 1983. Estimate $5,000-7,000 Provenance Lorence Monk Gallery, New York Acquired from the above by the late owner Exhibited New York, Lorence Monk Gallery, Drawings, April 4 – 27, 1985

A Tale of Two Cities

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184

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Richard Tuttle

b. 1941

Untitled #34 signed, titled and dated “#34 Richard Tuttle 1980” on the reverse watercolor on paper, in artist’s wood frame 11 x 9 1/4 in. (27.9 x 23.5 cm.) Executed in 1980. Estimate $6,000-8,000 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner in 1988

Silvia Bächli

b. 1956

Untitled signed with the artist’s initials and dated “S.B. 08” on a label afxed to the reverse gouache on paper 17 3/8 x 24 3/8 in. (44.1 x 61.9 cm.) Executed in 2008. Estimate $3,000-5,000 Provenance Peter Freeman Inc., New York Acquired from the above by the late owner in 2009

185

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Property from the Estate of Howard Karshan

12/09/18 10:02


Silvia Bächli

b. 1956

Untitled signed, signed with the artist’s initials, inscribed and dated “Silvia Bächli sb2015-028 S. B. 2015” on the reverse gouache on paper, in artist’s frame 12 1/4 x 8 5/8 in. (31.1 x 21.9 cm.) Executed in 2015. Estimate $2,000-3,000 Provenance Peter Freeman Inc., New York Acquired from the above by the late owner in 2016

Barry Le Va

b. 1941

(Blown Chalk Studies 1969) London Ex. signed, titled and dated “(blown chalk Studies 1969) London Ex. 1971 B Le Va” lower right wax crayon, tape and enamel paint on paper collage on card 19 5/8 x 25 5/8 in. (49.8 x 65.1 cm.) Executed in 1971. Estimate $5,000-7,000 Provenance Galerie Jahn und Fusban, Munich Acquired from the above by the late owner

A Tale of Two Cities

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(iii)

(ii)

Barry Le Va

b. 1941

Three works: (i) Double Drawing; (ii) Untitled (feld & glas) (iii) Sheets to Strips to Particles (i) signed and dated “B. Le Va 1969” lower right (ii) signed with the artist’s initials and dated “BL 196790” lower right (iii) signed with the artist’s initials, titled, inscribed and dated “sheets to strips to particles they felt B L 1967” lower edge (i-ii) ink and graphite on paper (iii) ink and charcoal on paper (i) 24 x 19 in. (61 x 48.3 cm.) (ii) 7 3/4 x 10 in. (19.7 x 25.4 cm.) (iii) 8 1/2 x 10 7/8 in. (21.6 x 27.6 cm.) (i) Executed in 1969. (ii) Executed in 1967-1990. (iii) Executed in 1967. Estimate $10,000-15,000 Provenance (i) Galerie Jahn und Fusbach, Munich Acquired from the above by the late owner (ii) Galerie Fred Jahn, Munich Acquired from the above by the late owner in 2015 (iii) Galerie Fred Jahn, Munich Acquired from the above by the late owner

(i)

187

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Property from the Estate of Howard Karshan

12/09/18 10:03


(i)

(ii)

Barry Le Va

(iii)

b. 1941

Three works: (i) Particles; (ii) Corner Sections (Separately Projected); (iii) Partition Sections (3 Perspectives) (i) signed and dated “Barry Le Va 1968” lower right (ii) signed, titled and dated “Corner Sections (Separately Projected) B. Le Va 1977” lower right (iii) signed, titled and dated “Partition Sections (3 Perspectives) B Le Va 1981” lower right (i) ink on paper (ii) pencil, ink, tape and collage on graph paper (iii) ink, pencil and printed paper collage on card (i) 18 1/2 x 23 1/2 in. (47 x 59.7 cm.) (ii) 17 x 22 in. (43.2 x 56 cm.) (iii) 22 1/2 x 17 3/4 in. (57 x 45 cm.)

(i) Executed in 1968. (ii) Executed in 1977. (iii) Executed in 1981. Estimate $12,000-18,000 Provenance (i) Sonnabend Gallery, New York David Nolan Gallery, New York Acquired from the above by the late owner in 1990 (ii – iii) Galerie Jahn und Fusban, Munich Acquired from the above by the late owner

William Anastasi

b. 1933

Subway Drawing signed and dated “W. Anastasi 9.14.68” lower right graphite on paper 7 1/2 x 11 3/8 in. (19.1 x 28.9 cm.) Executed in 1968. Estimate $4,000-6,000 Provenance Björn Ressle Fine Art, New York Acquired from the above by the late owner in 2006

A Tale of Two Cities

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188

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(i)

(ii)

Barry Le Va

b. 1941

Two works: (i) Maroon Felt; (ii) Untitled (i) signed, titled and dated “Maroon Felt B. Le Va 1968” lower right (ii) signed, inscribed and dated “Galerie Ricke . Cologne black & red iron oxide B Le Va 1969” lower right (i) ink, charcoal, tape and paper collage on paper (ii) ink, crayon and felt tip pen on paper (i) 11 3/4 x 17 3/4 in. (30 x 45.1 cm.) (ii) 10 7/8 x 8 1/2 in. (27.6 x 21.6 cm.) (i) Executed in 1968. (ii) Executed in 1969. Estimate $5,000-7,000 Provenance (i) Galerie Fred Jahn, Munich Acquired from the above by the late owner in 1989 (ii) Galerie Jahn und Fusban, Munich Acquired from the above by the late owner

189

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Property from the Estate of Howard Karshan

12/09/18 10:03


Joel Shapiro

b. 1941

Untitled signed and dated “SHAPIRO 77” on the reverse charcoal on paper 23 3/4 x 21 in. (60.3 x 53.3 cm.) Executed in 1977. Estimate $15,000-20,000 Provenance Thomas Segal Gallery, Boston Paula Cooper Gallery, New York Acquired from the above by the late owner Exhibited Amsterdam, Stedelijk Museum; Kunstmuseum Düsseldorf; Staatliche Kunsthalle Baden-Baden, Joel Shapiro, September 6, 1985 - March 31, 1986, no. 49, n.p. (illustrated, dated 1979) Miami, Center for the Fine Arts, Joel Shapiro: Selected Drawings 1968-1990, April 6 - June 2, 1991, fg. 3, p. 11 (illustrated, dated 1979)

Robert Barry

b. 1936

Untitled graphite and press type on paper 23 x 23 in. (58.4 x 58.4 cm.) Executed in 1976. Estimate $5,000-7,000 Provenance Holly Solomon Gallery, New York Acquired from the above by the late owner in 1990

A Tale of Two Cities

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190

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(i)

Terry Winters

(ii)

b. 1949

Three works: (i) Genova; (ii) Untitled #10; (iii) Untitled #12 (i) signed and dated "Terry Winters 1988" on the reverse (ii) signed, titled and dated "#10 Terry Winters 11/87" on the reverse (iii) signed, titled and dated “#12 Terry Winters 11/87” on the reverse gouache and watercolor on paper (i) 14 1/2 x 11 in. (36.8 x 27.9 cm.) (ii) 12 1/4 x 8 3/4 in. (31.1 x 22.2 cm.) (iii) 12 x 8 1/2 in. (30.5 x 21.5 cm.) (i) Executed in 1988. (ii-iii) Executed in 1987. Estimate $10,000-15,000 Provenance (i-ii) Galerie Fred Jahn, Munich Acquired from the above by the late owner in 1989 (iii) Galerie Fred Jahn, Munich Acquired from the above by the late owner in 1988

Ross Bleckner

(iii)

b. 1949

Untitled signed “Ross Bleckner” on the reverse oil on paper 23 x 28 3/4 in. (58.4 x 73 cm.) Executed in 1981. Estimate $3,000-4,000 Provenance Hirschl & Adler Modern, New York Acquired from the above by the late owner Exhibited New York, Hirschl & Adler Modern, Intuitive Line, December 6, 1986 - January 3, 1987

191

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Property from the Estate of Howard Karshan

12/09/18 10:04


Dan Flavin

1933-1996

Untitled (best wishes to Gisela, Köln 11 16 70) signed with the artist’s initials, dedicated and dated “best wishes Dan (to Gisela) Koln 11 16 70 DNF” lower right ballpoint pen on stationery 11 5/8 x 8 1/2 in. (29.5 x 21.6 cm.) Executed in 1970. Estimate $6,000-8,000 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner Exhibited New York, The Morgan Library & Museum; Kunsthalle Bielefeld, Dan Flavin: Drawing, February 17, 2012 - March 3, 2013, no. 80, p. 136 (illustrated)

Richard Serra

b. 1939

Balanced signed, titled and dated “Balanced Serra 70” on the reverse graphite on paper 13 7/8 x 17 1/8 in. (35.5 x 43.5 cm.) Executed in 1970. Estimate $2,000-3,000 Provenance Maria Colao, Rome Christie’s, London, June 29, 1999, lot 108 Acquired at the above sale by the late owner

Fred Sandback

1943-2003

Three Works: (i) No. 70; (ii) No. 83; (iii) No. 128 (i) signed, titled and dated “No. 70 Sandback 69” lower right (ii) signed, titled and dated “No. 83 Sandback 69” lower right (iii) signed, titled and dated “No. 128 Sandback 69” lower right (i-ii) graphite and felt tip pen on paper (iii) graphite, felt tip pen and colored pencil on paper each 5 1/8 x 7 7/8 in. (13 x 20 cm.) Executed in 1969.

(i)

(ii)

(iii) Estimate $8,000-12,000 Provenance Galerie Fred Jahn, Munich Acquired from the above by the late owner Exhibited Cambridge, Kettle's Yard, Fred Sandback, 7 May - 26 June 2005

A Tale of Two Cities

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192

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Sam Francis

1923-1994

Untitled signed, inscribed and dated “Sam Francis 1950 Paris” on the reverse; further inscribed and numbered “S475MM SF50-010” and stamped by the Sam Francis Estate on the reverse ink on paper 30 7/8 x 22 3/4 in. (78.4 x 57.8 cm.) Executed in 1950. This work is identifed with the interim identifcation number of SF50-009 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. Estimate $8,000-12,000 Provenance Estate of the Artist, California (1994) Gallery Delaive, Amsterdam (acquired from the above in 1997) Acquired from the above by the late owner in 2000 Exhibited Amsterdam, Gallery Delaive, Sam Francis: Works from 1948-1994, October 23 - November 19, 1999, p. 7 (illustrated)

Sam Francis

1923-1994

Untitled signed and dated “Sam Francis 1950” on the reverse; further numbered “SF50-076” and stamped by the Sam Francis Estate on the reverse ink on paper 21 1/2 x 17 in. (54.6 x 43.2 cm.) Executed in 1950. This work is identifed with the interim identifcation number of SF50-076 in consideration for the forthcoming Sam Francis: Catalogue Raisonné of Unique Works on Paper. This information is subject to change as scholarship continues by the Sam Francis Foundation. Estimate $4,000-6,000 Provenance Estate of the Artist, California (1994) Gallery Delaive, Amsterdam (acquired from the above in 1997) Acquired from the above by the late owner in 2003 Exhibited Amsterdam, Gallery Delaive, Sam Francis: Works from 1948-1994, October 23 - November 19, 1999, p. 7 (illustrated)

193

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Property from the Estate of Howard Karshan

12/09/18 10:04


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12/09/18 12:32


Interior of Linda and Howard’s New York home. Howard's homage to Cezanne.

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12/09/18 17:56


UK Guide for Prospective Buyers •No Reserve Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot will not exceed the low pre-sale estimate.

Please note this guide is for information purposes and is not a sale catalogue. Please refer to the London and New York auction catalogues for full details of the lots being ofered for sale. The seller of all lots featured in this guide has been guaranteed a minimum price. Some of the lots are also sold under special conditions. This guide does not contain a comprehensive summary of the symbols used to designate these special conditions. Please refer to the auction catalogues for full details.

♠ Property Subject to the Artist’s Resale Right Lots marked with ♠ are subject to the Artist’s Resale Right calculated as a percentage of the hammer price (in EUR) and payable as part of the purchase price as follows: Royalty Rate: From 0 to 50,000 (4%) From 50,000.01 to 200,000 (3%) From 200,000.01 to 350,000 (1%) From 350,000.01 to 500,000 (0.5%) Exceeding 500,000 (0.25%)

Buying at Auction The following pages are designed to ofer you information on how to buy at auction at Phillips in London. Our staf will be happy to assist you if you have any questions. Each Phillips auction is governed by the applicable Conditions of Sale and Authorship Warranty. All prospective bidders should read these sections carefully. They govern the purchasing agreement under which you buy at auction from Phillips. They may be also amended by saleroom addendum or auctioneer’s announcement during the auction. The complete Conditions of Sale and Authorship Warranty applicable to this auction (Version 27/5/18) are found online at phillips.com, along with detailed information on each lot.

The Artist’s Resale Right applies where the hammer price is EUR 1,000 or more, subject to a maximum royalty per lot of EUR 12,500. Calculation of the Artist’s Resale Right will be based on the pounds sterling/euro reference exchange rate quoted on the date of the sale by the European Central Bank. †, §, ‡, or Ω Property Subject to VAT Where there is no VAT symbol, Phillips is able to use the Auctioneer’s Margin Scheme and VAT will not normally be charged on the hammer price. An amount equivalent to VAT at 20% on the buyer’s premium will be included in the buyer’s premium. Property with a † symbol will be sold under normal UK VAT rules, and VAT will normally be charged at 20% on both the hammer price and buyer’s premium. Property with a § symbol and sold to buyers whose registered address is in the EU will be assumed to be remaining in the EU and will be treated as having no symbol (unless informed otherwise by a buyer). Property sold with a ‡ (5%) or Ω (20%) symbol has been imported from outside the EU to be sold at auction under temporary admission, and offered under the Auctioneer’s Margin Scheme at the respective % on the hammer price and an amount in lieu of VAT at 20% on the buyer’s premium.

Estimates The auction estimates indicated for each lot in this catalogue do not include Buyer’s Premium (applicable on each lot), or VAT or Artist’s Resale Right (where such charges apply). Details of these charges are given below. All Lots are Subject to ‘Buyer’s Premium’ In addition to the hammer (final bid) price, a buyer’s premium is due from all successful buyers. The buyer’s premium is a commission based on the hammer price payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including £180,000; 20% of the portion of the hammer price above £180,000 up to and including £3,000,000; and 12.5% of the portion of the hammer price above £3,000,000.

The foregoing is for summary purposes only. Please see the online auction catalogue and Conditions of Sale at phillips.com/buy and specifically the section ‘VAT AND OTHER TAX INFORMATION FOR BUYERS’ for a more detailed description of the VAT symbols used in this Buyer’s Guide, as well as any VAT refunds that you may be qualified to receive.

Condition and Condition Reports Phillips does not warrant or guarantee condition on any lot. Solely as a convenience to clients, Phillips may provide condition reports on many lots, which are also available online on the lot detail pages. If there is not a condition report available, that is not a representation that a lot is in perfect condition. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect all lots at our pre-sale exhibitions, and contact our staff with any questions.

Privacy Our Privacy Policy is available at www.phillips.com or by emailing dataprotection@ phillips.com and sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data; (iii) the lawful bases we rely on when processing your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws.

Bidding at Auction You may bid in the auction in person, online, on the phone, or by placing an absentee bid. The easiest way to arrange or register to bid at auction is to set up a client account online. Go to our homepage, phillips.com and fill out the account form. When you want to register for an auction, click Register on sale pages or lot detail pages, and you’ll confirm your account details, be asked for a credit card number for identification purposes and our Bids Department will process your request. We recommend registering at least 24 hours prior to sale to ensure that you can bid. Good luck!

Phillips premises, sale, and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes. Phillips’ auctions will be flmed for simultaneous live broadcast on Phillips’ and third party websites and applications. Your communications with Phillips, including by phone and online (e.g. phone and on-line bidding) may be recorded for security, client service and bid monitoring purposes. Where we record such information we will process it in accordance with our Privacy Policy.

Some lots are sold under special conditions. Phillips uses the following symbols to designate these lots: O ♦ Guaranteed Property The seller of lots designated with the symbol O has been guaranteed a minimum price fnanced solely by Phillips. Where the guarantee is provided by a third party or jointly by us and a third party, the property will be denoted with the symbols O ♦. When a third party has fnanced all or part of our fnancial interest in a lot, it assumes all or part of the risk that the lot will not be sold and will be remunerated via a fxed fee, a percentage of the hammer price or the buyer’s premium or some combination of the foregoing. The third party may bid on the guaranteed lot during the auction. If the third party is the successful bidder, the remuneration may be netted against the purchase price. Where Phillips has guaranteed a minimum price on every lot in the catalogue, Phillips will not designate each lot with the symbol(s) for the guaranteed property but will state our fnancial interest at the front of the catalogue.

Front cover, Gerhard Richter, Hände, 1963 © Gerhard Richter 2018 (10092018)

Back cover, Interior view – clockwise from top left Bruce Nauman, RAW/WAR, 1968/70 © Bruce Nauman / Artists Rights Society (ARS), New York and DACS, London 2018

Georg Baselitz, Jäger mit Hund (Hunter with Dog), 1976 © Georg Baselitz, 2018

Antoni Tapies, Paper de diari amb nou ratlles (Newsprint with nine strokes), 1969 © Foundation Antoni Tapies, Barcelone/VEGAP, Madrid and DACS, London 2018

Gerhard Richter, Ohne Titel, 1972 © Gerhard Richter 2018 (10092018)

Cy Twombly, Sperlonga drawing, 1959 © Cy Twombly Foundation

∆ Property in Which Phillips Has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

A Tale of Two Cities

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Georg Baselitz, Ohne Titel, circa 1973 © Georg Baselitz, 2018

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30 Berkeley Square, London, W1J 6EX phillips.com +44 20 7318 4010 bidslondon@phillips.com Please return this form by email to bidslondon@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying as an individual or on behalf of a company. Please select the type of bid you wish to make with this form (please select one):

In-person Absentee Bidding Telephone Bidding

Paddle Number

• If you cannot attend the sale, we can execute bids confdentially on your behalf.

As a private individual On behalf of a company Sale Title

Sale Number First Name

Sale Date

Surname Account Number

Company (if applicable)

• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable VAT. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specifed, if less than 50% of the low estimate.

Address

City

State/Country

• Your bid must be submitted in the currency of the sale and will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

Post Code Phone

Mobile

Email

Fax

• If we receive identical bids, the frst bid received will take precedence.

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of wilful misconduct. Agreement to bid by telephone must be confrmed by you promptly in writing or by fax. Telephone bid lines may be recorded.

Phone number to call at the time of sale (for Phone Bidding only) 2.

Please complete the following section for telephone and absentee bids only Lot number

Brief description

In Consecutive Order

• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including £180,000, 20% of the portion of the hammer price above £180,000 up to and including £3,000,000 and 12.5% of the portion of the hammer price above £3,000,000. • “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

VAT number (if applicable)

1.

• Company Purchases: We require a copy of government-issued identifcation (such as the certifcate of incorporation) to verify the status of the company. This should be accompanied by an ofcial document confrming the company’s EU VAT registration number, if applicable, which we are now required by HMRC to hold. • Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

Please indicate in what capacity you will be bidding (please select one):

Title

• Private Purchases: Proof of identity in the form of government-issued identification will be required.

Maximum pound sterling price* Absentee Bids Only

• Please submit your bids to the Bid Department by email to bidslondon@phillips.com or by fax at +44 20 7318 4035 at least 24 hours before the sale. You will receive confrmation by email within one business day. To reach the Bid Department by phone please call +44 20 7318 4045. • Absent prior payment arrangements, please provide a bank reference. Payment for lots can be made by cash (up to £5,000), credit card (up to £50,000) using Visa, American Express, Mastercard or Union Pay (for in person transactions only), UK debit cards, wire transfer, banker’s draf or personal cheque with identifcation, drawn on UK banks. Please note that credit cards are subject to a surcharge. • Lots cannot be collected until payment has cleared and all charges have been paid. • You will not have the right to cancel the sale of any lot purchased by you under the Consumer Contracts (Information, Cancellation and Additional Charges) Regulations 2013. • By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips.com or available by emailing dataprotection@phillips.com. • Phillip’s premises and sale and exhibition venues may be subject to video surveillance and recording. Telephone calls (e.g. telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

* Excluding Buyer’s Premium and VAT

Signature

Date

By ticking this box, you confrm your registration/bid(s) as above and accept the Conditions of Sale of Phillips as stated in our catalogues and on our website. 197

UK_KARSHAN_OCT18_168-199.indd 197

Please tick this box to receive emails about upcoming sales, exhibitions, and special events ofered by members of the Phillips group, as referenced in our Privacy Policy available on our website at www.phillips.com, where you may also update your email preferences or unsubscribe at any time.

Property from the Estate of Howard Karshan

12/09/18 18:29


NY Guide for Prospective Buyers Please note this guide is for information purposes and is not a sale catalogue. Please refer to the London and New York auction catalogues for full details of the lots being ofered for sale. The seller of all lots featured in this guide has been guaranteed a minimum price. Some of the lots are also sold under special conditions. This guide does not contain a comprehensive summary of the symbols used to designate these special conditions. Please refer to the auction catalogues for full details.

Some lots are sold under special conditions. Phillips uses the following symbols to designate these lots: O ♦ Guaranteed Property The seller of lots designated with the symbol O has been guaranteed a minimum price fnanced solely by Phillips. Where the guarantee is provided by a third party or jointly by us and a third party, the property will be denoted with the symbols O ♦. When a third party has fnanced all or part of our fnancial interest in a lot, it assumes all or part of the risk that the lot will not be sold and will be remunerated via a fxed fee, a percentage of the hammer price or the buyer’s premium or some combination of the foregoing. The third party may bid on the guaranteed lot during the auction. If the third party is the successful bidder, the remuneration may be netted against the purchase price. Where Phillips has guaranteed a minimum price on every lot in the catalogue, Phillips will not designate each lot with the symbol(s) for the guaranteed property but will state our fnancial interest at the front of the catalogue.

Buying at Auction The following pages are designed to ofer you information on how to buy at auction at Phillips in New York. Our staf will be happy to assist you if you have any questions. Each Phillips auction is governed by the applicable Conditions of Sale and Authorship Warranty. All prospective bidders should read these sections carefully. They govern the purchasing agreement under which you buy at auction from Phillips. They may be also amended by saleroom addendum or auctioneer’s announcement during the auction. The complete Conditions of Sale and Authorship Warranty applicable to this auction (Version 27/5/18) are found online at phillips.com, along with detailed information on each lot.

∆ Property in Which Phillips Has an Ownership Interest Lots with this symbol indicate that Phillips owns the lot in whole or in part or has an economic interest in the lot equivalent to an ownership interest.

Pre-Sale Estimates Pre-sale estimates are intended as a guide for prospective buyers. Any bid within the high and low estimate range should, in our opinion, ofer a chance of success. However, many lots achieve prices below or above the pre-sale estimates. Where “Estimate on Request” appears, please contact the specialist department for further information. It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Presale estimates do not include the buyer’s premium or any applicable taxes.

•No Reserve Unless indicated by a •, all lots in this catalogue are offered subject to a reserve. A reserve is the confidential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot will not exceed the low pre-sale estimate. Σ Regulated Species Items made of or incorporating certain designated plant or animal material, including but not limited to coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, (irrespective of age, percentage, or value), may require a license or certificate prior to exportation and additional licenses or certificates upon importation to any foreign country. Please note that the ability to obtain an export license or certificate does not ensure the ability to obtain an import license or certificate in another country, and vice versa. We recommend that prospective bidders check with their own local restrictions regarding such requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certificates as well as any other required documentation. Please note that lots containing potentially regulated plant or animal material are marked as a convenience to our clients, but Phillips does not accept liability for errors or for failing to mark lots containing protected or regulated species.

All Lots are Subject to ‘Buyer’s Premium’ Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $300,000, 20% of the portion of the hammer price above $300,000 up to and including $4,000,000 and 12.5% of the portion of the hammer price above $4,000,000. Condition and Condition Reports Phillips does not warrant or guarantee condition on any lot. Solely as a convenience to clients, Phillips may provide condition reports on many lots, which are also available online on the lot detail pages. If there is not a condition report available, that is not a representation that a lot is in perfect condition. While condition reports are prepared honestly and carefully, our staff are not professional restorers or trained conservators. We therefore encourage all prospective buyers to inspect all lots at our pre-sale exhibitions, and contact our staff with any questions.

Privacy Our Privacy Policy is available at www.phillips.com or by emailing dataprotection@phillips.com and sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data; (iii) the lawful bases we rely on when processing your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws.

Bidding at Auction You may bid in the auction in person, online, on the phone, or by placing an absentee bid. The easiest way to arrange or register to bid at auction is to set up a client account online. Go to our homepage, phillips.com and fill out the account form. When you want to register for an auction, click Register on sale pages or lot detail pages, and you’ll confirm your account details, be asked for a credit card number for identification purposes and our Bids Department will process your request. We recommend registering at least 24 hours prior to sale to ensure that you can bid. Good luck!

Phillips premises, sale, and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes. Phillips’ auctions will be filmed for simultaneous live broadcast on Phillips’ and third party websites and applications.

Transport and Shipping As a free service for buyers, Phillips will wrap purchased lots for hand carry only. Alternatively, we will either provide packing, handling and shipping services or coordinate with shipping agents in order to facilitate such services for property purchased at Phillips. In the event that the property is collected in New York by the buyer or the buyer’s designee (including any private carrier) for subsequent transport out of state, Phillips may be required by law to collect New York sales tax, regardless of the lot’s ultimate destination. Please refer to Paragraph 17 of the Conditions of Sale for more information.

A Tale of Two Cities

UK_KARSHAN_OCT18_168-199.indd 198

Your communications with Phillips, including by phone and online (e.g. phone and on-line bidding) may be recorded for security, client service and bid monitoring purposes. Where we record such information we will process it in accordance with our Privacy Policy.

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450 Park Avenue New York 10022 phillips.com +1 212 940 1200 bidsnewyork@phillips.com Please return this form by email to bidsnewyork@phillips.com at least 24 hours before the sale. Please read carefully the information in the right column and note that it is important that you indicate whether you are applying as an individual or on behalf of a company. Please select the type of bid you wish to make with this form (please select one): Paddle Number

In-person Absentee Bidding Telephone Bidding

• Company purchases: If you are buying under a business entity we require a copy of government-issued identification (such as a resale certificate, corporate bank information or the certificate of incorporation) to verify the status of the company. • Conditions of Sale: All bids are placed and executed, and all lots are sold and purchased, subject to the Conditions of Sale printed in the catalogue. Please read them carefully before placing a bid. Your attention is drawn to Paragraph 4 of the Conditions of Sale.

Please indicate in what capacity you will be bidding (please select one):

As a private individual On behalf of a company

• If you cannot attend the sale, we can execute bids confidentially on your behalf.

Sale Title Title

• Private purchases: Proof of identity in the form of government-issued identification will be required.

Sale Number First Name

Sale Date

Surname Account Number

Company (if applicable) Address

• Phillips charges the successful bidder a commission, or buyer’s premium, on the hammer price of each lot sold. The buyer’s premium is payable by the buyer as part of the total purchase price at the following rates: 25% of the hammer price up to and including $300,000, 20% of the portion of the hammer price above $300,000 up to and including $4,000,000 and 12.5% of the portion of the hammer price above $4,000,000 on each lot sold.

• “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers.

City

• For absentee bids, indicate your maximum limit for each lot, excluding the buyer’s premium and any applicable sales or use tax. Your bid will be executed at the lowest price taking into account the reserve and other bidders. On no reserve lots, in the absence of other bids, your bid will be executed at approximately 50% of the low pre-sale estimate or at the amount specified, if less than 50% of the low estimate.

State/Country

Zip Code Phone

Mobile

Email

Fax

• Your bid must be submitted in the currency of the sale and will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

Phone (for Phone Bidding only) Phone number to call at the time of sale (for Phone Bidding only) 1.

• If we receive identical bids, the first bid received will take precedence.

2.

Please complete the following section for telephone and absentee bids only Lot Number

Brief Description

In Consecutive Order

US $ Limit* Absentee Bids Only

• Arranging absentee and telephone bids is a free service provided by us to prospective buyers. While we will exercise reasonable care in undertaking such activity, we cannot accept liability for errors relating to execution of your bids except in cases of willful misconduct. Agreement to bid by telephone must be confirmed by you promptly in writing or by fax. Telephone bid lines may be recorded. • Please submit your bids to the Bid Department by email to bidsnewyork@phillips.com or by fax at +1 212 924 1749 at least 24 hours before the sale. You will receive confirmation by email within one business day. To reach the Bid Department by phone please call +1 212 940 1228. • Absent prior payment arrangements, please provide a bank reference. Payment can be made by cash (up to $10,000), credit card (up to $50,000), money order, wire transfer, bank check or personal check with identification. • Lots cannot be collected until payment has cleared and all charges have been paid. • By signing this Bid Form, you acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with Phillips’s Privacy Policy as published at www.phillips.com or available by emailing dataprotection@phillips.com. • Phillips’s premises may be subject to video surveillance and recording. Telephone calls (e.g., telephone bidding) may also be recorded. We may process that information in accordance with our Privacy Policy.

* Excluding Buyer’s Premium and sales or use taxes

Signature

Date

By checking this box, you confrm your registration/bid(s) as above and accept the Conditions of Sale of Phillips as stated in our catalogues and on our website. 199

UK_KARSHAN_OCT18_168-199.indd 199

Please check this box to receive emails about upcoming sales, exhibitions, and special events ofered by members of the Phillips group, as referenced in our Privacy Policy available on our website at www.phillips.com, where you may also update your email preferences or unsubscribe at any time.

Property from the Estate of Howard Karshan

12/09/18 18:29


UK_KARSHAN_OCT18_IFC+IBC.indd 200

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13/09/18 19:26


phillips.com

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A Tale of Two Cities: Property from the Estate of Howard Karshan [Catalogue]  

This season in New York and London, Phillips presents Property from the Estate of Howard Karshan

A Tale of Two Cities: Property from the Estate of Howard Karshan [Catalogue]  

This season in New York and London, Phillips presents Property from the Estate of Howard Karshan

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