PROPERTY FROM THE MILES & SHIRLEY FITERMAN COLLECTION [Catalogue]

Property from the

Fiterman Collection

Andy Warhol

Roy Lichtenstein

Joan Mirรณ

Alexander Calder

Robert Motherwell

David Hockney

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Contents.

18 Introduction

23 A Democratic Taste by Douglas Fogle

118 Day Sale, New York

22 Five Decades of Collecting

26 Evening Sale, New York

148 Evening Sale, Hong Kong

Fiterman Warhol, Lichtenstein, Hockney, Calder, Miró, Botero – the list of esteemed names that constitute the Miles and Shirley Fiterman Collection reads like a cross-continental survey of the 20th century’s most infuential artists. Born out of the seminal decade of the 1960s in which new paradigms emerged in both art production and art history, the collection is not only a tribute to the dawning of a revolutionary cultural era, but a witness to its making. To look at how Miles and Shirley Fiterman collected is to understand the importance of the collector at this crucial point in post-war history, when contemporary art solidifed its institutional recognition and found relevance with a wider public. While few individuals have gathered artworks of such quality and importance, fewer still have done so across four decades, as new masterpieces were created by the same artists that they met and supported. The selection of artworks they assembled dances between the century’s key dialogic touchstones of abstraction and fguration: from the photographic clarity of Warhol’s silkscreens to the exaggerated

18

forms of Fernando Botero’s The Lovers, 1989; from the sensuous evocations of de Kooning, to the distilled formal elements of Calder’s mobiles; and fnally to a pure non-referentiality in Robert Motherwell’s Open No. 119: In Blue with Charcoal Line, 1969-1972. Together they provide an expansive interrogation of the guiding tenets of modern and contemporary art.

Based in Minneapolis, Miles and Shirley Fiterman formed part of a conduit between the international contemporary art scene and their beloved home city. Their sustained eforts to bring great art to the region manifested in their lifelong support of the Walker Art Center – from its nascent stages to the present day – and in their contemporaneously acquired collection. Highly personal, astutely connoisseurial and indelibly philanthropic, the Fitermans’ model of collecting was built on several important foundations: the personal relationships that they built with trailblazing dealers and gallerists; the

acquisition of exemplary works by the revolutionary artists that they met and communicated with – Andy Warhol, Roy Lichtenstein, Joan Miró and Claes Oldenburg, to name but a few; sustained patronage to museums that championed the causes of modern and contemporary art; and their proactive role in providing greater access to education in art.

Having frst met as teenagers, Miles and Shirley Fiterman both studied at the University of Minnesota. It was shortly afer they married that they began acquiring works by local artists in Minneapolis. This acted as a gateway into building what would eventually become a comprehensive survey of contemporary painting and sculpture. Afer happening upon a particularly impactful advertisement in a fne arts magazine in 1960, the couple quickly began to expand their purview to New York, soon adding new pieces by Warhol, Oldenburg, and Calder to their rapidly growing collection of emerging artists.

A unique afnity with the zeitgeist and an ability to act ahead of the curve are what bind the Fiterman Collection to the achievements of its proprietors. Intuitive, innovative, and entrepreneurial, Miles Q. Fiterman

was highly infuential in the post-war construction boom, catering to the unprecedented demand for housing. Miles Homes Inc., which he founded in 1946, grew to be the nation’s largest supplier of prefabricated housing prior to its sale in 1972. Buoyed by a belief in art’s ability to illuminate the complexities of the human condition, immutable passion and a voracious dedication to studying the canon underpinned the Fitermans’ collecting activities.

New York dealers like Leo Castelli, as well as those further afeld such as Daniel Lelong of Galerie Maeght in Paris – through whom they acquired Alexander Calder’s Black Gamma, 1966 – assisted the couple in sourcing the very best artworks. Some of their most signifcant relationships and acquisitions were also fostered much closer to home, with dealers who were instrumental in bringing international modern and contemporary masters to the American Midwest. While John C. Stoller introduced them to Motherwell’s Open No. 119: In Blue with Charcoal Line, gallerists Gordon Locksley and George Shea facilitated their acquisition of several signifcant pieces, including Roy Lichtenstein’s Modern Painting, 1967 and nine of Andy Warhol’s small-scale Flowers, 1964.

RIGHT:

Miles and Shirley Fiterman seated in front of their portraits

by Andy Warhol. Photograph courtesy of authorized representatives of Shirley Fiterman.

Artwork © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York

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Not long into their collecting journey, the couple began to foster personal relationships with artists. Through parties in their Mount Curve home, Locksley and Shea would periodically transport the buzz of the New York art scene to Minneapolis. It was in this context that the Fitermans frst met Andy Warhol early on during his career, leading him to dedicate one of his iconic 14 inch Flowers canvases to the couple – one of only two works in that size that bear a personal dedication. This was just the start of a long-lasting friendship that was to crescendo in August of 1975 when Warhol photographed two Polaroid portraits of the couple that formed the basis for a set of silkscreen paintings. Today an original Polaroid of Mr. Fiterman from the photoshoot resides in the collection the National Gallery of Art, Washington, D.C. As collectors they were exceptional in their scholarly volition and desire to adequately historicize contemporary art. From early on, this naturally intersected with an innate philanthropic impulse and a desire to champion education. Shirley Fiterman has recalled teaming up with Joan Mondale – wife of Senator and later Vice President Walter Mondale – to tour their home state and deliver lectures on art history. The Fitermans’ dedication to using contemporary art to fourish the region eventually resulted in the founding of the Associates of the Minneapolis College of Art and Design. Gifing new studio facilities to the institution, they were able to draw artists such as Robert Rauschenberg, Frank Stella, Louise Nevelson, and Christo to lecture at the college.

The Fiterman Collection thus grew to be informed by the far reaching activities of its creators, resulting in a curated body of thoughtfully matched works.

Miles and Shirley Fiterman. Photograph courtesy of authorized representatives of Shirley Fiterman.

Artwork © 2015 Jim Dine / Artists Rights Society (ARS), New York

20

True to the era, the collection contains signifcant examples of classic Pop Art. Warhol’s early depictions of domestic consumer products stand as icons of 1960s innovation and the collectors’ proximity to a redefnition of American art. At the same time, Warhol’s vibrant silkscreen portraits David Hockney, 1974, and Roy Lichtenstein, 1976, speak of the deeply personal and enduring sense of respect that the Fitermans’ held for pioneers of Pop Art. For them, artists were the true icons of history. The collection also embraces a specifc conceptual tangent of Pop in Roy Lichtenstein’s Modern Painting and Horse and Rider, 1976. Here we fnd paintings that consciously refer to the history of painting itself, indicative of the scholarly consciousness that permeates the collection. Their selection of works by Josef Albers foreshadows the inclusion of John Chamberlain and Willem de Kooning, who both studied at the Black Mountain College where Albers taught. Providing formal inspiration to the minimalism of Donald Judd in untitled, 1970 and Frank Stella, Albers’ Bauhaus-generated color theories also infuenced a generation of Color Field painters such as Sam Francis, all of who feature here.

Profound aesthetic fellowship is also captured in the dialogue between the works of Alexander Calder and Joan Miró who, afer forming a friendship in Paris in 1928, maintained distinct yet interminably linked aesthetics in their work. As such, the Fiterman Collection astutely harnesses the common aesthetic impulses of the 20th century and allows us to investigate their variations. Bold yet elegant, expressing both formal balance and expressive abandon, the collection celebrates the ability of art to imagine the world anew.

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Supporting artists, museums and education, Miles and Shirley Fiterman provided a fully rounded example of modern patronage. In 1974, Claes Oldenburg showed his appreciation for the Fitermans’ generosity, personally gifing the couple a sketch following their generous donation of Oldenburg’s sculpture Geometric Mouse - Scale A to the collection of the Walker Art Center. This is but one of the some 70 pieces that the couple gifed or sold to the Walker over the course of their lifelong relationship with the institution. Another important example is Agnes Martin’s Untitled #7, 1977, which entered the collection in 1979. With Miles serving as a longstanding board member, their fnancial support helped the Walker to become the internationally reputable museum that it is today. Afer Miles Fiterman’s passing in 2004, Shirley continued his legacy by making signifcant contributions towards the extension program.

The couple were patrons of and enabled acquisitions at the Minneapolis Institute of Art, where the Fiterman name graces several of the museum’s buildings. Miles and Shirley Fiterman were also active patrons within the locale of their other residence in Palm Beach, Florida. Both sat on the board of the Norton Museum of Art, where Mrs. Fiterman went on to assume the role of board president. Among other institutions, Shirley Fiterman has also held positions at the American Friends of the Israel Museum, and has provided support to the institution where she received her college education through the University of Minnesota’s Goldstein Gallery. Outside of the United States, Miles and Shirley Fiterman were honored as Patrons of the Year in 2001 at the Tel Aviv

Museum of Art and the Tel Aviv Museum, where they also served as board members. The family’s longstanding support has also extended beyond art institutions: as Founders of the National Foundation for Research in Ulcerative Colitis and patrons of the Miles and Shirley Fiterman Center for Digestive Diseases at the Mayo Clinic, a life-long commitment to advancing the medical community stands as their other key philanthropic achievement.

Most fttingly, their other great legacy lies in the area of arts education.

In 1993, Miles and Shirley Fiterman donated a 15-story building in downtown Manhattan to the City University of New York, providing a new home for the system’s Borough of Manhattan Community College.

The original building was signifcantly damaged in the tragic events of 9/11, leading to the construction of the Miles and Shirley Fiterman Hall.

Home to the Shirley Fiterman Art Center, this building is an important hub for the advancement of culture and education, located in the city that birthed so many of the great artists represented in this collection.

As arbiters of taste, champions of groundbreaking artists, early supporters of internationally renowned regional museums, and individuals who promoted a scholarly approach to the appreciation of contemporary art, Miles and Shirley Fiterman defned what it was to be a collector in the 20th century. In line with the prestige of its creators, the Fiterman Collection presents an interwoven view of the 20th century’s guiding aesthetic and conceptual impulses, and reifes the power of art to shape society.

LEFT:

Roy Lichtenstein and Shirley Fiterman at the artist’s studio.

Photograph courtesy of authorized representatives of Shirley Fiterman

RIGHT:

Joan Miró and Shirley Fiterman.

Photograph courtesy of authorized representatives of Shirley Fiterman

OPPOSITE:

Fiterman Hall, City University of New York, Borough of Manhattan Community College.

Photo courtesy of Justin B. Cohen

22

The Miles and Shirley Fiterman Collection:

Five Decades of Collecting

Miles and Shirley acquire early works

by Andy Warhol circa mid-to-late 1960s.

Gordon Locksley introduces Miles and Shirley to Andy Warhol in Minneapolis circa late ‘60s.

1971

1960s

1970s

Miles and Shirley loan Andy Warhol’s Soup Can drawing to the Minneapolis Institute of Arts for an exhibition of drawings and watercolors from important Minnesota private collections in May 1971.

Miles and Shirley acquire Alexander Calder’s White Versus Yellow from M. Knoedler & Co., New York on October 24, 1978.

Miles and Shirley acquire Black Gamma by Alexander Calder through Daniel Lelong at Galerie Maeght in 1974.

1974

1975

1977

Andy Warhol photographs Miles and Shirley, creating two Polaroids that would serve as the basis of silkscreen portraits he would later make of them.

Miles and Shirley purchase Conque

by Joan Miró on June 27, 1977.

1978

Miles and Shirley purchase Andy Warhol’s David Hockney from John C. Stoller Gallery in August 1979.

1979 Miles and Shirley gif Agnes Martin’s Untitled #7 to the Walker Art Center in 1979, one of some 70 works that the collectors donated to the institution.

Miles and Shirley purchased David Hockney’s Study from Parade Triple Bill from André Emmerich Gallery on March 24, 1981.

1981

1980s

1982 Jean Dubufet’s Arbre aux Deux Étages is acquired by Miles and Shirley through Irving Galleries in the spring of 1982.

1989-90 Andy Warhol’s David Hockney is included in Warhol’s frst major retrospective beginning at the Milwaukee Art Museum and traveling to institutions including The Museum of Modern Art, New York in 1989.

Miles and Shirley donate Fiterman Hall to the Borough of Manhattan Community College in 1993.

1993

1990s

2001

2000s

Miles and Shirley are honored as Patrons of the Year at the Tel Aviv Museum of Art in 2001.

A Demo cratic Taste

By Douglas Fogle

OPPOSITE

Douglas Fogle, former Chief Curator at Hammer Museum, Los Angeles and curator of the 55th Carnegie International in 2009 at the Carnegie Museum of Art, Pittsburgh, also served as curator at the Walker Art Center, Minneapolis between 1994 and 2004, where he organized Andy Warhol/Supernova: Stars, Deaths, and Disasters, 1962–1964. The LAbased curator most recently curated Andy Warhol: Dark Star at Museo Jumex in Mexico City in 2017.

Andy Warhol, Miles Fiterman, 1975.

LEFT:

Artwork © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York

RIGHT:

Andy Warhol, Shirley Fiterman, 1976.

Artwork © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York

“I’ve been watching the Mouse for days from the highway and almost had three automobile crack ups. It if had happened it would have been worth it” (Miles Fiterman, letter to Claes Oldenburg dated June 12, 1974).

The Mouse referred to here was Claes Oldenburg’s Geometric Mouse – Scale A, 1969/1971, which the Minneapolis patrons and collectors Miles and Shirley Fiterman donated to the Walker Art Center’s permanent collection. This sculpture – Oldenburg’s playful aluminum and steel geometric abstraction of the famous Disney icon – blazed like a beacon for decades on the roof top terrace of the Walker’s Edward Larrabee Barnes building inviting the public into the museum for a dialogue with contemporary art. One can imagine Miles Fiterman bending his neck out of his car window as he drove by the Walker on Hennepin Avenue when the work was frst installed and excitedly having to swerve to avoid

a collision. It was another kind of collision that the Fitermans actively sought out though – in this case between the general public and the artists of their time – that demonstrated their almost missionary passion for the power of contemporary art. As with Oldenburg’s mouse, the Fitermans passionately advocated for the democratization of modern and contemporary art and used their generous patronage to make that art accessible and understandable to the world at large through gifs of art and support to the Walker Art Center, the Minneapolis Institute of Art, and the Norton Museum of Art in West Palm Beach – on the boards of which Miles served – as well as to institutions of higher learning such as the Minneapolis College of Art and Design and the City University of New York.

Having successfully built a business providing lumber and afordable prefabricated homes to the American public returning from the Second

23

World War, the Fitermans fell in love with modern and contemporary art in the 1960s. They came to know the likes of Andy Warhol, Roy Lichtenstein, Claes Oldenburg, and others through their contact with gallerists such as Leo Castelli, David Lelong, and Minneapolis’s own Gordon Locksley and George Shea who mounted exhibitions of some of the leading international contemporary artists – Warhol, Lichtenstein, Christo – in their home just up the hill from the Walker Art Center in the 1960s and 1970s. It was Locksley who personally introduced the Fitermans to Warhol at one of the legendary Minneapolis soirees at the gallery when the artist frst visited Minneapolis in the 1960s.

Indeed, the democratic qualities of Pop Art held a deep appeal for the Fitermans and they acquired a large group of signifcant works

by Warhol, Lichtenstein, Oldenburg, etc., alongside modern masters such as Picasso, Calder, and Miró. Warhol’s adoption of ubiquitous consumer products such as Coca-Cola and Campbell’s Soup would speak to a kind of democratic levelling that Warhol observed within the larger post-war American consumer culture. As Warhol pointed out in The Philosophy of Andy Warhol, “You can be watching TV and see Coca-Cola, and you know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, too. A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same

24

and all the Cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.” Warhol’s silkscreen painting Two Coke Bottles, 1962 and his graphite drawing Soup Can, 1962 are prime examples of the artist’s oeuvre from this revolutionary moment in art history. In a sense, these works were a kind of democratic portrait of an American consumer culture that placed everyone on equal footing regardless of age or class. Warhol was similarly drawn to the consistency of these products and the strangely secular kind of collective communion that Americans entered into by consuming them.

Warhol would turn his attention to a body of silkscreen paintings of Flowers in the summer of 1964 that would become the focus of his frst exhibition at Leo Castelli Gallery in New York in November of that year as well as his second exhibition at Ileana Sonnabend Gallery in Paris the following spring in May 1965. Between 1964 and 1967 he would go on to produce over 300 of these works in sizes ranging from 5 x 5 inches to a monumental 10 x 10 feet. Cropping an image of hibiscus fowers from Modern Photography magazine into a square, Warhol went through myriad combinations of colors for the fowers for their backgrounds and then hung them alone or in rigorous grids such as the 8 x 8 inch 9 Flowers, 1964 which sports a black and white background. Produced at the same time as his Death and Disaster series of car crashes and electric chairs, it’s hard not to see his fowers as being similar to the memento mori of Renaissance still life painting that used fruits and

vegetables to signal the slow decay that is associated with being alive.

The memento mori was, of course, a metaphorical levelling device employed by artists to let us know that we were all bound to die no matter what our station in life. In Warhol’s case though the memento mori was colorful, garish and repetitive. The writer Peter Schjeldahl recalled seeing the Sonnabend exhibition at the time and commented that “it was as if, in a dark, grey atmosphere, someone had kicked open the door of a blast furnace.”

The Fitermans were deeply committed to the artists whom they admired and were able to collect many of them in depth with Warhol and Roy Lichtenstein at the forefront. It’s no surprise then that when Warhol turned his attention in the 1970s to silkscreen portraits of celebrities and commissioning patrons, the Fitermans reached out to have their own portraits done. At the same time, they acquired Warhol’s portraits of two of his contemporaries who also fgured prominently in their collection: David Hockney and Lichtenstein. In his work David Hockney, 1974, Warhol returns to his painterly past loading up the canvas around Hockney’s face with fast expressive brushstrokes while his portrait Roy Lichtenstein, 1976 has the cooler and fatter Warhol silkscreen efects which are nonetheless disrupted by his palette of purples, pinks, and greens. Whether looking at the famous or the more anonymous, Warhol’s portraiture looked back to the democratizing efects of photography, which allowed people with very modest means to have

their portrait done, while also looking forward and presaging the advent of the culture of the selfe that we fnd ourselves in today.

The Fitermans were equally invested in the career of the other titan of American Pop Art, Lichtenstein, having acquired some of his most iconic early comic book paintings from the 1960s as well as later works that addressed the history of modern art such as Horse and Rider, 1976 and Modern Painting, 1967. Taking his radical style from the ubiquitous graphic culture of popular comic books, Lichtenstein would translate the Ben-Day dot composition of their printing into a new way of looking at our own culture and also art history. For example, Horse and Rider harkens back to the modernist innovations of the Italian Futurists such as Umberto Boccioni who attempted to capture the dynamism of speed on the canvas. In a sense, Lichtenstein was using the techniques of comic book illustration to launch the history of painting back into the view of the general public. Shirley Fiterman must have loved Lichtenstein’s approach as she spent many hours traveling all over Minnesota volunteering as an art educator with her friend and fellow Minneapolis cultural patron Joan Mondale. Whether looking at a Warhol Flowers painting or an epic and irresistibly mesmerizing mobile by Alexander Calder such as Black Gamma, 1966, Miles and Shirley Fiterman were committed to artists who both challenged and engaged the public with a democratic openness.

“In a sense, these works were a kind of democratic portrait of an American consumer culture that placed everyone on equal footing regardless of age or class.”

Douglas Fogle

25

Property from the

EVENING SALE, NEW YORK

lots. 1/15

Fiterman Collection

O

01.

Donald Judd

1928-1994

Untitled galvanized iron 5 x 25 1/ 2 x 8 5/8 in. (12.7 x 64.8 x 21.9 cm.)

Executed on February 16, 1970.

Estimate $600,000 - 800,000

28

Provenance Leo Castelli Gallery, New York Locksley Shea Gallery, Minneapolis Acquired from the above by the present owner

Literature Brydon Smith, Donald Judd: Catalogue RaisonnĂŠ of Paintings, Objects, and Wood-Blocks 1960-1974, exh. cat., National Gallery of Canada, Ottawa, 1975, no. 136, p. 173

LEFT:

Alternate view of the present lot

OPPOSITE:

The present lot photographed with Miles and Shirley Fiterman. Photograph courtesy of authorized representatives of Shirley Fiterman.

30

Donald Judd’s untitled is a rare four-unit example of the artist’s iconic bullnose wall progressions, one of only two grey-scale galvanized iron versions of this unique form. As each positive segment becomes longer by half an inch from lef to right, the negative spaces in between become correspondingly smaller, giving the series to which this work belongs the “wall progression” name. Untitled represents the culmination of a development of wall progressions beginning with the original bullnose 1964 prototype, initially crafed from lacquered red wood. Judd followed this model with his galvanized iron form in red lacquer in 1965, making the present work – constructed in dappled grey galvanized iron – representative of the second wave of Judd’s wall progression series.

Executed in 1970, untitled passed directly from Leo Castelli Gallery, New York to Locksley Shea Gallery, Minneapolis, the latter from where Miles and Shirley Fiterman acquired it. Untitled shows that the collectors’ tastes extended well beyond pop, featuring Minimal masterworks like the present work as well.

“The sense of objects occurs with forms that are near some simple, basic, profound forms you feel. These disappear when you try to make them into imaginable visual or tactile forms.

The reference to objects gives them a way to occur.”

Although Judd began his career as a painter, he struggled to cleanse his art from the customs which he considered the grime of art history: composition, illusion, anthropomorphism, oil paint, the fat canvas. By 1964, Judd had abandoned painting altogether, now creating threedimensional forms which emerged out of the wall, into the public space of the spectator. “Because the nature of three dimensions isn’t set, given beforehand, something credible can be made, almost anything”, Judd wrote (Donald Judd, “Specifc Objects”, 1965 in Donald Judd: The Complete Writings, 1959-1975, New York, 2015, p. 184). The wall progressions begun in this year were each made by extending a tube along the wall and attaching separate boxes to it. As his work matured, Judd also experimented with the installation of each initial wall progression, deciding that the cantilever behind the object must be hidden to make the object appear to rise sharply from the wall, as if foating free from architectural constraints. Accordingly, the site-specifc installation of works such as untitled is as unique as the work itself; precise, individual, and sensitive to the work’s horizontal alignment.

As his practice evolved, Judd increasingly looked to industrial materials for their anonymity and pliability. In 1964 he frst commissioned The Bernstein Brothers, a metal-working shop in New York, to cover his sculptures in galvanized iron, as exemplifed in the present lot. Unlike other metals, galvanized iron has a painterly quality to its raw, marbled surface, yet – crucially for Judd’s purposes – it is industrial, thereby preventing the viewer from investing the piece with prefxed cultural meanings. The clarity and simplicity of industrial metal is characteristic of Judd’s emphasis on the object itself as art. Judd believed the truth of art to be free from Western pictorial illusionism. Thus, he wanted his objects to be heterogeneous enough to express a unity indiferent to custom or tradition, yet indicative of a larger truth about the universal human psyche.

Donald Judd

OPPOSITE:

Donald Judd at Whitechapel Gallery, 1970.

Photo by Richard Einzig, Brechten-Einzig Ltd. Artwork © 2019 Judd Foundation/Artists Rights Society (ARS), New York

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Despite its clarity, untitled prompts perceptual questions concerning its arrangement and composition. For example, the object’s smooth metal surface makes it appear to be a solid, bar-like construction incapable of resting on a wall, but closer investigation reveals it to be hollow and light. As David Raskin noted, “Art like Judd’s successfully exposed the drawback of trusting sensations to provide understanding, since it proved that there could never be direct sensory access to reality, which instead waited to be discovered by other analytical means” (David Raskin, “Judd’s Moral Art”, Donald Judd, exh. cat., Tate Modern, London, 2004, p. 80).

This proportional complexity becomes evident in the mathematical spacing of four units in untitled, which is dominated by semicircular contours protruding out of a rectilinear prism. All elements and intervals in Judd’s wall progressions are ordered according to one of four given

mathematical formulas: Fibonacci, arithmetic, geometric, and inverse natural numbers. These mathematical schemes create an emotionally and intellectually satisfying sense of unity; like seeing a golden mean in nature, mathematics in Judd’s sculpture constitute a philosophical statement on how and why we fnd art beautiful in the frst place.

Yet this apparent assertion of pragmatism and order creates further visual puzzles, since the divergence between units means that it is rarely possible to predict the appearance of the whole work from any given side viewpoint of the sculpture. These optical illusions prove that “reality” is always fltered through the senses, that “meaning… is unintelligible apart from … the semiological conventions of the public space” (Rosalind Kraus, “Sense and Sensibility: Refections on Post ‘60s Sculpture”, Artforum, vol. 12, no. 3, November 1973, p. 47). Balancing an uncompromising material honesty with a maddening ambiguity, untitled represents the absolute vanguard of radical postmodern sculpture.

33

O

02.

Roy Lichtenstein

1923-1997

Small Wall Explosion signed, numbered and dated “rf Lichtenstein ‘65 4/6” on the reverse porcelain enamel on perforated steel 20 1/4 x 21 1/ 2 x 7 1/4 in. (51.4 x 54.6 x 18.4 cm.)

Executed in 1965, this work is number 4 from an edition of 6.

Estimate $800,000 - 1,200,000

34

Provenance

Exhibited

Leo Castelli Gallery, New York The Tremaine Collection, New York Christie’s, New York, November 12, 1991, lot 33 Acquired at the above sale by the present owner

New York, Solomon R. Guggenheim Museum; Kansas City, William Rockhill Nelson Gallery of Art & Atkins Museum of Fine Arts; Chicago, Museum of Contemporary Art; Seattle Art Museum; Columbus Gallery of Fine Arts, Roy Lichtenstein, September 19, 1969 - August 30, 1970, no. 91, n.p. (another example exhibited and illustrated) Mexico City, Instituto Nacional de Bellas Artes, Museo del Palacio de Bellas Artes; Museo de Arte Contemporáneo de Monterrey; Valencia, Instituto Valenciano de Arte Moderno; A Coruña, Fundación Pedro Barrié de la Maza; Lisbon, Centro Cultural de Belém, Roy Lichtenstein: Imágenes reconocibles: Escultura, pintura y gráfca / Roy Lichtenstein: Imagens Reconhecíveis, July 9, 1998 - August 15, 2000 (another example exhibited and illustrated, p. 81); then traveled as Washington, D.C., The Corcoran Gallery of Art, Roy Lichtenstein: Sculpture & Drawings, June 5 - September 30, 1999, no. 16, p. 57 (another example exhibited and illustrated, p. 81) Venice, Fondazione Emilio e Annabianca Vedova, Roy Lichtenstein Sculptor, May 28 - November 24, 2013, no. 20, p. 278 (another example exhibited and illustrated, p. 64)

Literature Max Kozlof, “Roy Lichtenstein at the Guggenheim”, Artforum, vol. 8, no. 3, November 1969, p. 41 (another example illustrated) Diane Waldman, Roy Lichtenstein, New York, 1971, no. 117, p. 246 (another example illustrated, n.p.)

LEFT:

Roy Lichtenstein, Wall Explosion II, 1965.

Tate Gallery, London, Photo © Tate, London / Art Resource, NY Artwork © Estate of Roy Lichtenstein

36

37

Composed from a hypnotic layering of glossy steel apertures, Roy Lichtenstein’s Small Wall Explosion, 1965 celebrates the artist’s transferal of his most signifcant stylistic addition to the canon of art history, the Ben-Day dot, to three-dimensional form. Here Lichtenstein captures the climactic moment of combustion, ubiquitous within the genre of graphic fction, in the permanence of steel. This notion is enhanced by the fact that the individual sheets of perforated steel layered on top of one another can spin around on the axis of a steel rod. Forming part of the artist’s earliest forays into sculpture, the groundbreaking 1965 series of Explosions enshrine the Ben-Day dot at a crucial point within Lichtenstein’s rapidly diversifying practice.

Examples of Small Wall Explosion have been housed in prestigious collections around the world, the specifc example here originating from the renowned Tremaine Collection and acquired by Miles and Shirley Fiterman almost three decades ago; another example still today resides in the distinguished Sonnabend Collection.

Max Kozlof wrote about Lichtenstein’s Explosions at his 1969 exhibition at the Solomon R. Guggenheim Museum, in which another example of this work was included: “They ofer the same solutions as in his pictorial work; but to the degree that their immobility is much more explicit, they’re the most astonishing things he’s ever done...To make something

“[The Explosions are] the most astonishing things he’s ever done...these moments when form and subject work most abrasively against each other are the dramatic points of his career.”

Max Kozlof, “Roy Lichtenstein at the Guggenheim”, Artforum, vol. 8, no. 3, November 1969, p. 43

38

solid out of the ethereal, something opaque out of the transparent: these moments when form and subject work most abrasively against each other are the dramatic points of his career” (Max Kozlof, “Roy Lichtenstein at the Guggenheim”, Artforum, vol. 8, no. 3, November 1969, p. 43). Indeed, throughout his career Lichtenstein reveled in subjects that are difcult to capture, such as mirrored surfaces, brushstrokes, explosions and cartoon expressions. It is no wonder that an explosion appealed to Lichtenstein, itself an invisible phenomenon in motion.

Of his subject matter, Lichtenstein noted, “I was interested in anything I could use as a subject that was emotionally strong. Usually love, war, or something that was highly charged…I also wanted the subject matter to be opposite to the removed and deliberate painting techniques” (Roy Lichtenstein, quoted in John Coplans, Roy Lichtenstein, exh. cat., Pasadena Art Museum, Pasadena, 1967, p. 36). In the early 1960s, Lichtenstein challenged the pervasive infuence of Abstract Expressionism, eschewing the bravura brushwork of action painting for a painterly technique that erased the marks of its maker.

Instead, Lichtenstein thematized the stilled action of his subjects: “He paints about process and not with it…The early cartoon paintings of

romance and war are ‘action packed’ with water, wind, and explosions” (Paul Schimmel, Hand-Painted Pop: American Art in Transition 1955-62, Los Angeles, 1993, p. 46). The dislocation of quotidian media was a key conceptual strategy that underpinned Pop Art as a radical movement. Lichtenstein’s paintings such as Blam, 1962, Yale University Art Gallery, New Haven and Whaam!, 1963, Tate, London call upon comic book images that playfully sanitize violent explosions.

Engaging with these subjects in the midst of the Vietnam War and the Cuban Missile Crisis, Lichtenstein – himself an army veteran – questioned how such images are mediated through mass media, but with a decisive sense of objective distance. Small Wall Explosion is luscious and explosive, while also being experientially removed – an abstraction of an already mediated image. In Small Wall Explosion, the ascending strata of uniformly perforated steel are crowned with the monochromatic zigzag element outlined in black, abstracting pure white heat into symbolic pathos.

(Roy Lichtenstein, quoted in John Coplans, Roy Lichtenstein, 1967, p.

16). Here he utilizes the perfected geometry of mechanically holepunched steel, which he would later use as a screen to paint through in order to create perfectly rendered dots. Artfully playing with scale, he stacks telescopic tiers of the perforated metal plates, each cut with such laser precision that the punctures do not disrupt the boundaries of the overall shape. The efect is optically deceptive: negative spaces gain solidity as the Ben-Day dots that we are familiar with emerge as form rather than background, while the tactile layers of steel dissolve into two-dimensional planes of pattern. Rendered in a simplifed palette of energetic primary colors, Lichtenstein enacts an explosive deconstruction of the printing process, recalling how the illusions of crudely printed media fall apart at a close distance. At the same time, hypnotic combinations of light and color fuctuate amidst the compressed layers of depth, and the vision appears to vibrate as we alter our proximity to it.

Having increased the size and presence of the Ben-Day dots in his paintings during 1964, by 1965 sculpture provided Lichtenstein a new fertile ground to play with cultural expectations regarding representation. The artist succinctly noted, “I was interested in putting two-dimensional symbols on a three-dimensional object”

Together these visual qualities help Lichtenstein brilliantly depict the ephemeral manifestation of an explosion in three dimensions, which is immediately understood through color, line, and form. His ability to play with diferent modes of representation and abstraction, always in his signature style, is one of his defning legacies to art of the 20th century.

OPPOSITE:

Roy Lichtenstein, Blam, 1962.

Yale University Art Gallery, New Haven, Photo © Yale University Art Gallery, Artwork © Estate of Roy Lichtenstein

RIGHT:

Another example of the present lot installed at Roy Lichtenstein, Museum of Contemporary Art Chicago, February 7 – March 22, 1970.

Image © MCA Chicago, Artwork © Estate of Roy Lichtenstein

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Property from the

Fiterman Collection

O

03.

Andy Warhol

1928-1987

David Hockney signed, titled and dated “DAVID Hockney Andy Warhol Andy Warhol 1974” on the overlap acrylic and silkscreen ink on canvas 40 x 40 in. (101.6 x 101.6 cm.)

Executed in 1974.

Estimate $400,000 - 600,000

40

Provenance

Literature

Leo Castelli Gallery, New York Margo Leavin Gallery, Los Angeles Robert H. Half, Los Angeles John C. Stoller & Co., Minneapolis Acquired from the above via Dayton’s Gallery 12, Minneapolis by the present owner in August 1979

Henry Geldzahler and Robert Rosenblum, Andy Warhol: Portraits of the Seventies and Eighties, exh. cat., Anthony d’Ofay Gallery, London, 1993, no. 11, pp. 56, 155 (illustrated, p. 57) Lothar Romain, Andy Warhol, Munich, 1993, no. 113, p. 190 (illustrated, p. 149) Neil Printz and Sally King-Nero, eds., The Andy Warhol Catalogue Raisonné: Paintings and Sculpture, 1970-1974, vol. 3, London, 2010, no. 2678, p. 435 (illustrated, p. 425)

Exhibited Los Angeles, Margo Leavin Gallery, Mao, My Mother, and Other Friends, April 3 - May 3, 1975 Seattle Art Museum; Denver Art Museum, Andy Warhol: Portraits, November 19, 1976 - March 27, 1977 Milwaukee Art Museum; Houston, Contemporary Arts Museum, Warhol/ Beuys/Polke, June 19 - November 15, 1987, no. 17, p. 47 (illustrated, p. 39) New York, The Museum of Modern Art; The Art Institute of Chicago; London, Hayward Gallery; Cologne, Museum Ludwig; Milan, Palazzo Reale; Paris, Musée National d’Art Moderne, Centre Georges Pompidou, Andy Warhol: A Retrospective, February 6, 1989 - September 10, 1990, no. 332, p.

315 (illustrated)

LEFT :

Miles and Shirley Fiterman with the present lot in their 5th Avenue apartment in New York.

Photographed by Andre Beckles Artwork © David Hockney

OPPOSITE:

David Hockney and Andy Warhol, 1976. © Hulton-Deutsch Collection/CORBIS /Corbis / Getty Images.

42

Emerging from a furry of cerulean brush strokes, Andy Warhol’s 1974 portrait of the iconic British painter David Hockney evinces a bond – both artistic and personal – between two of the 20th century’s most important painters. One of only three paintings Warhol made of the artist, two of which were gifed directly to Hockney, this painting is the frst to come to auction. Bold brushstrokes and gestural swathes of fnger painting in electric blue, counterpointed by accents of ebullient magenta, create the ground for Warhol’s silkscreened image.

While David Hockney is paradigmatic of Warhol’s portraits of eminent cultural fgures and socialites that he made in the early 1970s, the artist began painting portraits of artists as early as the 1960s. It was during this time that Warhol embarked on his frst major series of individual artist portraits known as Portraits of the Artists, made under the auspice of Leo Castelli. Using his screen-printing technique, Warhol articulated photographic images of himself and his contemporaries, including Robert Morris, Jasper Johns, Roy Lichtenstein, Larry Poons, James Rosenquist, Frank Stella, Lee Bontecou, Donald Judd, and Robert Rauschenberg. This initiated a longstanding tendency by Warhol to depict the most groundbreaking creatives who defned the era to

which they collectively belonged. Throughout the later part of his career, Warhol would revisit again and again the artists of his own time, depicting Arman, Keith Haring, Jean-Michel Basquiat, and others well into the 1980s.

While the 1960s Castelli portraits were based on heavily cropped photographs that Warhol had acquired from the gallerist, the present portrait of David Hockney crucially elicits a dialogue with Warhol’s own photographic practice. Warhol photographed Hockney on several occasions between 1972 and 1974. The two artists arranged to exchange two canvases by Warhol for a portrait drawing by Hockney. Warhol selected a Polaroid that he took of the artist on a visit to Hockney’s Paris studio on December 2, 1973 as the source for his three silkscreen paintings that would follow. Each of the resulting paintings were created in the 40-inch square format that would become the hallmark of his portraiture oeuvre in the 1970s. Two of these works with a pink and green background would go into Hockney’s personal collection, while the present blue work remained in Warhol’s studio until the Fitermans acquired it fve years later. Throughout the following decade, this work would be exhibited extensively at notable shows including Warhol’s

LEFT:

Andy Warhol, Untitled (David Hockney with Andy Warhol), circa 1980.

Artwork © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York

RIGHT:

David Hockney, Andy, Paris, 1974.

Artwork, © David Hockney

OPPOSITE:

The present lot installed at Andy Warhol: A Retrospective, The Museum of Modern Art, New York, February 6, 1989–May 2, 1989.

Photographed by Mali Olatunji © The Museum of Modern Art Archives, New York, Artwork © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York

44

traveling retrospective beginning at The Museum of Modern Art, New York in 1989.

Warhol, quoted in Pat Hackett, ed., The Andy Warhol Diaries, New York, 1989, p. 375).

In the preceding decade, Warhol’s Marilyn, Elvis, and Liz paintings appropriated ubiquitous press images of celebrities to emphasize a sense of manufactured distance from the sitter. The present work evidences the actively personal tone that underscores the 1970s portraits as a body of work. As noted by Vincent Fremont, who worked with Warhol from 1969 until the artist’s death in 1987, “Photographing his portrait subject was for Andy the best way to capture what he wanted out of his sitters. He quietly told them how to hold their hands or turn their heads” (Vincent Fremont, Andy Warhol: Portraits of the Seventies and Eighties, exh. cat., Anthony d’Ofay Gallery, London, 1993, p. 29). Gazing directly into Warhol’s lens, here we encounter Hockney not only as an image but also as a person and a friend. As shown in two graphite portraits Warhol also made of Hockney – one housed in the collection of the Metropolitan Museum of Art, New York, and another in Tate, London – Warhol viewed his younger protégé with genuine afection that would grow over the years. On March 26, 1981 he would write in his diary, “David’s cute, he really is magic” (Andy

The playful friendship between the artist and sitter in the present work is also refected in the tactility of the brushwork and the composition.

With an electric blue wash, Hockney’s shoulders have been masked out, emphasizing the central drama of the hand and his facial expression as they emerge from an abstract painterly space. Crucially, Warhol used both brush and fnger so that his mark-making is not only traceable, but a dominant feature of the work. The creation of these portraits coincided with the exhibition of his legendary Chairman Mao canvases at Musée Galleria in Paris, which also indulged in expressionistic fnger and brush painting, thus introducing a new painterly quality to Warhol’s working method. Seemingly blending Hockney’s trademark messy blonde locks with the surface of the canvas, he seems to refer back to the Abstract Expressionist masters whom he had eschewed in his earlier silkscreen paintings, in order to imbue the work with emotive force. These visual qualities instill the present work with a personal touch that is wholly unique to Warhol’s prolifc oeuvre of artist portraits, a career-long preoccupation and investigation for the Pop master.

O

04.

Andy Warhol

1928-1987

Two Coke Bottles signed, dedicated and dated “to Todd with love / Andy Warhol 62� on the overlap silkscreen ink on canvas 13 x 9 in. (33 x 22.9 cm.)

Executed in 1962.

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

46

Provenance Todd Brassner, New York Jules Brassner, New York Acquired from the above by the present owner

Exhibited West Palm Beach, Norton Gallery & School of Art, 1997 (on extended loan)

“You can be watching TV and see Coca-Cola, and you know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, too.”

OPPOSITE:

Andy Warhol

48

Andy Warhol posing with an oversized Coca-Cola bottle, 1977.

49

In the intimately-scaled Two Coke Bottles, 1962, Andy Warhol inducts America’s most ubiquitous sof drink into his celestial hall of Pop Art fame. Delineating the iconic curves of the familiar glass bottle with the cool objective clarity of his at the time newly-conceived silkscreen technique, Warhol aligns the pervasive symbolism of the Coca-Cola brand with the cast of legendary celebrities he was immortalizing at the time including Elvis Presley and Marilyn Monroe. Through Warhol’s leveling eye, the quotidian objects of daily life become icons that capture the very essence of contemporary society. Painted amongst Warhol’s earliest silkscreen paintings in the pivotal year of 1962, Two Coke Bottles evinces a defning moment when the artist irrevocably eliminated the schism between popular culture and high art.

Two Coke Bottles witnesses not only the birth of a revolutionary stylistic idiom but also the birth of Pop Art itself. It is likely that Warhol created fewer than ten green Coca-Cola bottle canvases with compositions ranging from single vessels to vast multiplied vistas, such as the monumental Green Coca-Cola Bottles, 1962, Whitney Museum of American Art, New York, therefore making these works particularly rare.

Conceived from three diferent silkscreens which depicted the bottle from three diferent perspectives, the present work utilizes a profle and three-quarter view. Together, the bottles’ combined, exact alignment means that the iconic Coca-Cola logo can be read across the two vessels.

Variations in the thickness of the lines and application of pigment indicate that this work may have been manually painted in certain areas as well. Forming a perfect dual portrait of the motif, there is only one other Two Coke Bottles canvas from the series known to exist.

The present work was initially gifed by Warhol to Todd Brassner, a New York collector who amassed some of Warhol’s fnest works before

dying tragically in a fre last year. Throughout the 1960s and 1970s, Brassner served as both a friend and a dealer to Warhol, credited with selling some of his most iconic pieces. There are two other known 1962 paintings of single Coca-Cola bottles rendered in brown and black ink previously owned by Brassner, both made in the same intimate scale of the present work. Afer being passed from Todd to his father Jules, also an art dealer, Two Coke Bottles went on to reside in the prestigious Miles and Shirley Fiterman Collection where it has remained ever since.

Accompanying the U.S. Army throughout World War II as a “little piece of home,” Coca-Cola symbolized America as the land of plenty and as the new leader on the world’s economic stage. Warhol’s Coca-Cola paintings presented this radical new codifcation of the zeitgeist without apparent critique. Claiming a newfound objectivity in the mechanical gloss of the silkscreen technique, Warhol explained in 1966, “I feel I represent the U.S. in my art…but I’m not a social critic. I just paint those things in my paintings because those are the things I know best” (Andy Warhol, quoted in Kenneth Goldsmith, I’ll be Your Mirror, The Selected Andy Warhol Interviews, New York, 2004, p. 88).

Buoyed by the post-war economic boom, the exponential increase in consumer product manufacturing bore an unprecedented infuence on the collective American psyche. The vast proliferation of advertising in television, flm, and print media meant that brands and logos became the familiar signposts with which individuals navigated a shared visual culture. The defnitive Pop Art pioneers, namely Warhol and Roy Lichtenstein, interrogated this new sensibility from its very epicenter: New York. While in 1961 Claes Oldenburg artfully satirized consumerism in his immersive installation The Store in the East Village, Warhol looked uptown towards the advertising frms of Madison Avenue for much

LEFT:

Andy Warhol, Green Coca-Cola Bottles, 1962.

Whitney Museum of American Art, New York. Digital Image © Whitney Museum of American Art / Licensed by Scala / Art Resource, NY, Artwork © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York

RIGHT:

Coca-Cola magazine advertisement, 1960s.

Image © The Advertising Archives / Bridgeman Images

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of his inspiration. In this same year, he began drawing and painting Coca-Cola bottles, inaugurating a longstanding preoccupation with trademarked items and their distinct aesthetics from Campbell’s Soup to Brillo, Kellogg’s, Heinz, and General Electric.

It is notable that Warhol chose to depict the classic pinched waist design of the glass bottle, frst created in 1915 by Raymond Lowey Associates. The introduction of soda cans in 1956 meant that the bottle already held some nostalgic appeal when Warhol frst painted it in 1961. This was the same year that Coca-Cola bottles for the frst time carried a new trademark from the U.S. Patent and Trademark Ofce, thus legally securing their unique iconic status. Free of superfuous detail, Two Coke Bottles afxes our focus to the contour lines which demarcate the bottles sensuous form and the iconicity of swirling font.

One of the most enduring Pop icons for over a century, the Coca-Cola bottles, with their form and typeface, were the perfect readymade for Warhol’s pop sensibility. The artist admitted that when he frst engaged with the Coke bottle subject he “still wasn’t sure if you could completely remove all the hand gesture from art and become noncommittal, anonymous.” In spite of this, he fervently pushed “to take away the commentary of the gestures” en route to his end goal: “The works I was most satisfed with were the cold, ‘no comment’ paintings” (Andy Warhol, quoted in Pat Hackett, POPism: The Warhol Sixties, New York, 1980, pp. 6-8). With most paintings depicting Coke bottles housed in important collections, this is a rare opportunity to acquire one of the most exquisite examples of the artist’s and America’s most beloved subjects.

LEFT:

Todd Brassner with the 1975 artwork of him by Andy Warhol, circa 1994.

Artwork © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York

RIGHT:

Verso of the present lot (detail)

51

O

05.

Roy Lichtenstein

1923-1997

Modern Painting signed and dated “rf Lichtenstein ‘67” on the reverse oil and Magna on canvas 48 x 60 in. (121.9 x 152.4 cm.)

Executed in 1967.

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

52

Provenance Locksley Shea Gallery, Minneapolis Acquired from the above by the present owner

Exhibited Chicago, Museum of Contemporary Art, Roy Lichtenstein, February 7 - March 22, 1970 (titled Three Columns)

Literature Roy Lichtenstein: Modern Paintings, exh. cat., Richard Gray Gallery, New York, 2010, no. 43, p. 57 (illustrated)

LEFT:

Roy Lichtenstein, Study for Modern Painting, 1967.

Artwork © Estate of Roy Lichtenstein

RIGHT:

Robert Delaunay, Rythme, Joie de vivre, 1930.

Musee National d’Art Moderne, Centre Georges Pompidou, Paris, Photo © CNAC/MNAM/Dist.

RMN-Grand Palais / Art Resource, NY

54

Roy Lichtenstein’s Modern Painting, 1967, provides an alluring invitation to analyze and dissect the key aesthetic innovations the artist gifed the history of art. Moving beyond the narrative-based works that had gained him widespread fame at the start of the decade, Lichtenstein engaged with the genre of landscape painting in the mid-1960s before moving to compositions of geometric shapes and clean abstract details referring to Art Deco design in 1966.

Painted the following year in 1967, Modern Painting is demonstrative of the enthralling efects of this union between 20th century design and Lichtenstein’s own signature aesthetic. The hand-painted surface appears mechanically executed in its refned clarity, rhythmically pulsating despite the architectural solidity of its formal components.

The geometric forms are boldly delineated with the thick black lines borrowed from the comic book illustrations that he appropriated in the early 1960s. A central frieze of repeated elements bisects the canvas diagonally, simultaneously challenging the orthogonal orientation of the picture plane and creating a dialogue between the monochromatic lower section and the electric fashes of primary colors in the upper part of the composition. Contrasting luminous yellow with deep cerulean blue and two crowning discs of red, Lichtenstein eloquently balances the distribution of tones across the canvas, establishing a centrifugal mechanism of chromatic energy.

Crucially, Modern Painting exhibits a particularly exquisite mastery of Lichtenstein’s most important pictorial innovation: the Ben-Day dot.

Modulating their size and density in successive bands, he articulates the efect of shading as the canvas shimmers with the vibrancy of a pointillist masterpiece. Acquired by Miles and Shirley Fiterman from the eminent Minneapolis-based Locksley Shea Gallery, the work stands as a testament to the couple’s exceptional dedication to collecting defning Pop Art masterworks as well as to their ability to access the greatest quality of works at the time of their conception.

It was in the summer of 1966 that Lichtenstein inaugurated his engagement with Art Deco. While still working on his Brushstrokes series, the artist was commissioned to design a poster for New York City’s Lincoln Center. For his subject he turned to the architecture and design of the 1920s and 1930s which was plentiful in the streets of midtown Manhattan. The following year he was commissioned to create a mural for the American Painting Now exhibition at the U.S Pavilion in Montreal. In Modern Painting for Expo 67 Lichtenstein created one of his largest murals and featured the graduated Ben-Day dots that we see replicated in the present work, also executed in 1967. Concurrent with Lichtenstein’s frst European retrospective at the Stedelijk Museum in Amsterdam, this year signifed the continued diversifcation of his subject matter as he reached an increasingly international audience.

The machine-like precision with which Lichtenstein executed his complex compositions is particularly astounding in the present work.

For several years, true mechanical painting techniques had been employed in the silkscreen processes of Andy Warhol, as well as those of Robert Rauschenberg. While Rauschenberg still indulged in expressionistic brushwork and Warhol ofen relished in the minute errors and misalignments of his silkscreens, Lichtenstein meticulously created a pristine and faultless surface that ostensibly eliminated any trace of human intervention. As the artist recalled in the same year that the present work was executed: “I want to hide the records of my hand” (Roy Lichtenstein, quoted in John Coplans, “Talking with Roy Lichtenstein”, Artforum, May 9, 1967, p. 34). Key to his perfection was the use of Magna paints, which were completely soluble in turpentine, allowing him to correct any minute errors without painting or scraping over them. The efect is a painting that evades its true origins and status as the product of a painter. Diverting all attention from mark making and the corporeal surface, we are drawn into a purely cerebral experience, which invites us to decode the forms as abstract decorative entities.

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As early as 1962, Lichtenstein had referenced other art historical movements, such as Picasso’s Cubism, and subsumed them within his distinct pop lexicon, Art Deco provided particularly fertile grounds for appropriation within the fne art context. Firstly, the use of the word “Modern” in the title calls into question the notion of the avantgarde – what is cutting edge and ahead of its time – and the legacy of modernism at a time when Lichtenstein himself was actively propelling art towards a new era that would be retrospectively considered postmodern. Art Deco held a particular nostalgic glamor, but it did not signify modernity in the sense of it being contemporary. As noted

by Lawrence Alloway, “These tightly locked geometrics were, as the artist has pointed out, originally emblems of the future. However, enough time has passed for us to be overwhelmed by a sense of these forms’ remoteness. There is a poignant sense of time as we look at the symbolic geometry that derives from a decade in which, to quote Lichtenstein, ‘they felt much more modern than we feel we are now’” (Lawrence Alloway, Roy Lichtenstein, New York, 1983, p. 40). Rather than drawing on the idealism of classic modernism, Lichtenstein’s interest in its decorative and commercial proponents – created by architects and industrial manufacturers rather than artists – is consistent with the leveling tendencies of Pop Art. Calling on Art

Deco, he also illuminates modernist ideals as inherently outmoded in themselves.

In Modern Painting Lichtenstein makes yet another challenge to the infuential critic and champion of Abstract Expressionist painting, Clement Greenberg. In his seminal text Avant-Garde and Kitsch from 1939, Greenberg had posited a divide between “high culture”, represented by the canonical painters of art history, and the massproduced aesthetics of decorative arts, represented by the burgeoning visual culture of the domestic sphere. Through a coolly mechanical gloss of painted forms that also eschew the expressionistic brushwork of Abstract Expressionism and Color Field painting – those whom Greenberg saw to be the logical inheritors of the high modernist tradition – Lichtenstein irreverently ushers in forms that were widely considered “decorative” into the canon of art history that Greenberg sought to defend. As is perfectly illustrated in Modern Painting, for Lichtenstein all stylistic idioms, “high” or “low”, proved fertile ground to expand upon the very defnition of painting. As the artist noted in 1966, “The things I have apparently parodied I actually admire” (Roy Lichtenstein, quoted in Bruce Glaser, “Oldenburg, Lichtenstein, Warhol: A Discussion”, Artforum 4, no. 6, February 1966, p. 145).

LEFT:

Roy Lichtenstein, Modern Painting with Sun Rays, 1967 Hirshhorn Museum and Sculpture Garden, Washington, DC, The Joseph H. Hirshhorn Bequest, 1981, Image © Hirshhorn Museum and Sculpture Garden, Washington, DC, Artwork © Estate of Roy Lichtenstein

OPPOSITE:

Roy Lichtenstein, December 14, 1967.

Photo by Fred W. McDarrah/Getty Images.

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O

06.

Robert Motherwell

1915-1991

Open No. 119: In Blue with Charcoal Line signed and dated “R Motherwell 70” upper right; further signed, titled and dated ““OPEN #119” R. Motherwell Summer, 1969” on the reverse acrylic and charcoal on canvas 60 x 72 in. (152.4 x 182.9 cm.)

Executed in 1969-1972.

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

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Provenance Private Collection (acquired in 1973) John C. Stoller & Co., Minneapolis Acquired from the above by the present owner

Literature Jack Flam, Katy Rogers and Tim Cliford, Robert Motherwell: Paintings and Collages, A Catalogue Raisonné, 1941-1991, vol. 2, New Haven, 2012, no. P502, p. 275 (illustrated)

LEFT:

Piero della Francesca, Flagellation of Christ, circa 1463-1464.

Galleria Nazionale delle Marche, Urbino (Palazzo Ducale), Italy, Photo © Scala / Art Resource

OPPOSITE:

Robert Motherwell in his Provincetown studio with Open paintings, 1969.

Image Dedalus Foundation, Artwork © 2019 Dedalus Foundation, Inc./Licensed by VAGA at Artists Rights Society (ARS), NY

A prime early example of his celebrated Opens series, Robert Motherwell’s Open No. 119: In Blue with Charcoal Line immerses the viewer in a charged feld of blue. Similar to many of his masterworks, Motherwell worked on this painting over the course of a few years, revisiting it a few times between 1969 and 1972. In the Opens, which occupied the artist primarily between 1967 and 1974, Motherwell channeled his expressive abilities through a format that was defned by its incredible economy of means. This is evident in the three-sided “U” form that articulates the upper section of the present work, which reappears, in a number of guises, in other related paintings. While many of the other works from the series feature these lines against a monochrome backdrop, in Open No. 119: In Blue with Charcoal Line the artist created a surface that appears at frst two-tone, but which

reveals itself on closer inspection to be far more complex, with the purple and green hues glowing through like embers. In so doing, these colors highlight the active brushwork Motherwell has used, revealing the artist’s process and hand. It is a mark of the esteem accorded to the Opens that a large number of them feature in international institutional collections, such as The Museum of Modern Art, New York.

In the Opens, Motherwell found a basis upon which to hang infnite variations of expression, a technique he was already exploring in his ongoing series the Elegies to the Spanish Republic, with their instantly recognizable rhythmic blots and bars of black. Just as the Elegies owed their existence in part to the chance rediscovery of an old drawing made to accompany a poem, the Opens had their inception in a fortunate

Property from the

Fiterman Collection

accident. It was when he had leaned his painting Summertime in Italy, 1967, against another larger ochre monochrome work, that he was struck by its fortuitous visual intensity. “So I outlined the smaller canvas in charcoal (onto the yellow ochre of the larger canvas) so that the lines looked like a door—a very abstract one” (Robert Motherwell, quoted in Jack Flam, Katy Rogers and Tim Cliford, Motherwell: 100 Years, Milan, 2015, p. 177). Eventually, Motherwell would invert this picture that became known as Open No. 1: In Yellow Ochre, introducing the “U” that is seen in here. In many ways, Motherwell was also turning to one of his earliest paintings, Spanish Picture with Window, 1941, held in the permanent collection of the Modern Art Museum of Fort Worth, which represented his frst exploration of the geometric motif that would reappear in the Opens.

The Opens also aforded Motherwell an opportunity to immerse himself in color, investigating its moods and meanings in a diferent manner than what the more sober, black and white Elegies allowed for. As Motherwell explained, “I use each color as simply symbolic: ochre for the earth, green for the grass, blue for the sky and sea. I guess that black and white, which I use most ofen, tend to be the protagonists” (Robert

OPPOSITE TOP:

Robert Motherwell, Open No. 1: In Yellow Ochre, 1967.

Collection of Reinhard and Sonja Ernst Stifung, Artwork © 2019 Dedalus Foundation, Inc./Licensed by VAGA at Artists Rights Society (ARS), NY

Motherwell, quoted in Dore Ashton, Twentieth-Century Artists on Art, New York, 1985, p. 236).

With its dominant blue backdrop, Open No. 119: In Blue with Charcoal Line can be seen as a direct reference to two other crucial antecedents: Joan Miró and Henri Matisse. Two of Matisse’s paintings in particular are ofen referenced as inspirations to Motherwell’s Opens – French Window at Collioure, Musée National d’Arte Moderne, Paris and View of Notre Dame, The Museum of Modern Art, New York, both dating from 1914.

It was only in 1966, the year before Motherwell began his Opens, that Matisse’s View of Notre Dame was placed on display at The Museum of Modern Art. In that work, the ornate, perhaps even decorative landscape of Paris—so celebrated in the lyrical works of legions of earlier painters—was stripped back to a rigid yet eloquent geometry of lines against a blue backdrop. Motherwell also found inspiration in the 1925 blue paintings of Miró, alongside whom he would work when commissioned to create works for the new wing of the National Gallery of Art in Washington, D.C. in 1974. These artists both used blue and distilled their forms to the barest, most eloquent minimum. In so doing, they set a clear precedent for Open No. 119: In Blue with Charcoal Line.

“I use each color as simply symbolic: ochre for the earth, green for the grass, blue for the sky and sea.”

BELOW:

Robert Motherwell, Open Number 17 (in ultramarine with charcoal line), 1968.

The Museum of Modern Art, New York, Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY Artwork © 2019 Dedalus Foundation, Inc./Licensed by VAGA at Artists Rights Society (ARS), New York

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Robert Motherwell

Motherwell, an incredibly erudite artist, may have looked to the past in his pictures, but he also looked to the present. The pared-back nature of the Opens has seen them compared - even by Motherwell himself to the Minimal art that was on the ascent at the time. This reveals the extent to which Motherwell, one of the pioneers of the New York School, was nonetheless aware and even open to the advancements being made elsewhere in the sphere of art at the time. However, Motherwell and Minimalism diverged in many ways, some of those illustrated by the present work. Looking at its surface, it is clear that this is not just an object, but a tumult of brushstrokes. In perceiving the various brushstrokes that have been used to build up its deceptively complex composition, the viewer is made vividly, even viscerally, aware of the artist’s own actions and presence. “In the end I realize that whatever ‘meaning’ that picture has is just the accumulated ‘meaning’ of ten thousand brush strokes, each one being decided as it was painted…as the accumulation of hundreds of decisions with the brush…But when you steadily work at something over a period of time, your whole being must emerge” (Robert Motherwell, quoted in Robert Motherwell, exh. cat., Albright-Knox Gallery, New York, Bufalo, 1983, p. 12).

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Property from the

Fiterman Collection

O

07.

Roy Lichtenstein

1923-1997

Horse and Rider signed and dated “rf Lichtenstein ‘76” on the reverse oil and Magna on canvas 54 x 74 in. (137.2 x 188 cm.)

Executed in 1976.

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

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Provenance Leo Castelli Gallery, New York The Mayor Gallery, London Acquired from the above by the present owner

LEFT:

Roy Lichtenstein, Drawing for Horse and Rider, 1975 Artwork, © Estate of Roy Lichtenstein

OPPOSITE:

Marcel Duchamp, Nude Descending a Staircase (No. 2), 1912.

The Philadelphia Museum of Art, Photo credit: The Philadelphia Museum of Art / Art Resource, NY. The Louise and Walter Arensberg Collection, 1950 Artwork © Artists Rights Society (ARS), New York / ADAGP, Paris / Succession Marcel Duchamp

Creating a grand vista of fragmented geometric forms that coalesce into a dynamic equine tableau, Roy Lichtenstein’s engulfng Horse and Rider, 1976, exemplifes the painter’s enduring dedication to the appropriation of the art historical canon within his idiosyncratic Pop aesthetic. Adding to an oeuvre redolent with the infuence of the 20th century’s most groundbreaking artistic movements, it was in 1974 that Lichtenstein began to pay homage to the pictorial strategies of Italian Futurism.

Here, Lichtenstein draws from Umberto Boccioni’s exemplary 1914 painting Horse Rider and Buildings, reinterpreting its defnitive pictorial strategies through the touchstones of his own visual vocabulary, rooted in comic book imagery and commercial printing. The Fitermans’ acquisition of this important painting evinces the unique scholarly rigor that informed their approach to collecting, and their sustained eforts, as both admirers and patrons, to situate Lichtenstein’s work within the grand history of painting.

Lichtenstein would only paint one other Futurist-inspired work on the subject of the horse, The Red Horseman, 1974, which resides in the collection of the Ludwig Forum for International Art, Aachen and is currently on loan to the Museum Moderner Kunst Stifung Ludwig, Vienna. While The Red Horseman, which was widely disseminated as the poster image for the 1984 Los Angeles Olympic Games, provided a more faithful Pop Art equivalent of Carlo Carrà’s original painting with the same name, Lichtenstein takes more creative license, inventing a powerfully original composition in Horse and Rider. Succinctly manifesting an ambiguous position between homage and pastiche, the work embodies one of Pop Art’s most important underlying tenets. The result is an uncanny stylistic hybrid that makes an important addition to the longstanding genre of equestrian painting, as the employment of this historic motif allows for a unique dissection of the Futurist’s relentless quest for visual dynamism. As such, Horse and Rider is an indisputable masterpiece within Lichtenstein’s limited series of Futurist-inspired works.

“All my art is, in some way, about other art.”

Roy Lichtenstein

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From the earliest days of his career, Lichtenstein consciously placed himself within the meta-narrative of art history by paying due homage to great modern masters who, like Lichtenstein himself, had introduced new stylistic idioms to the arena of painting. As early as 1962, in Man with Folded Arms, The Museum of Contemporary Art, Los Angeles, Lichtenstein emulated Paul Cézanne’s renowned Homme aux bras croisés, 1899, reducing the image to a set of thick monochrome outlines against a fne screen of perfectly articulated Ben-Day dots. The following year he would quote Picasso in his Femme d’Alger, 1963, The Broad, Los Angeles. Given that Picasso himself appropriated the theme from Eugène Delacroix’s Women of Algiers in Their Apartment, 1834, Lichtenstein’s twofold mediation exposes the canon of painting as a game of infuence and borrowing. All crafed in his comic book style, Lichtenstein’s particular vision of Pop Art involved illuminating the nuances of a visual culture in which popular art forms and “high art” were intrinsically linked. The artist surmised this in 1966: “I think even the cartoons themselves are infuenced by Cubism, because the hard-edged character which is brought about by the printing creates a kind of cubist look that perhaps wasn’t intended” (Roy Lichtenstein, quoted in David Sylvester, Some Kind of Reality: Roy Lichtenstein interviewed by David Sylvester in 1966 and 1997, London, 1997, p. 7).

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For Lichtenstein, Pop Art therefore did not simply bring commercial aesthetics into the gallery space; it also became an exploration of the semantic possibilities brought about by the melding of previously separate graphic and artistic styles. Though contemporary critics questioned the validity of a copied subject within Lichtenstein’s early art history paintings, he would, over the course of the 1970s, abandon his attachment to specifc works, using the movements of Cubism, Expressionism, Surrealism and Futurism as springboards for his own imaginative compositions. Within the Futurist-inspired works, Horse and Rider is a masterpiece that illustrates the calculated tension Lichtenstein built between innovation and appropriation. Here the cascading equestrian scene, where a rider appears to be fractured to a stilled vision that moves across the canvas, is unequivocally redolent of foremost Futurist painter Boccioni’s Horse Rider and Buildings of 1914.

While the artist had initiated a relationship with the Futurists’ draw to horse imagery two years earlier in The Red Horseman, the present work displays his greater confdence with the theme as he diverts further from the source painting by Boccioni. Lichtenstein creates an entirely unique composition of his own, evocative of but not reliant upon the motif so revered by the Futurists for its display of speed. This transition towards pastiche rather than direct reference is refective of the

developments in his relationship to artistic styles and artworks as his career progressed.

Inaugurating the polemical Futurist movement in 1909, Filippo Tommaso Marinetti declared on the front page of the French newspaper Le Figaro that “the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath...a roaring motor car which seems to run on machine-gun fre, is more beautiful than the Victory of Samothrace” (Filippo Tommaso Marinetti, “Manifesto of Futurism,” Le Figaro, February 20, 1909).

proved instrumental to the advancement of civilization and the eventual establishment of empires. Horses are a defning feature of the Parthenon frieze, while Equestrian statues from ancient Rome came to be mimicked throughout the Renaissance onwards as a metaphor for imperial power.

By way of these precedents, the horse entered into the canon of Western art history as a recurring theme that would be interpreted anew with each stylistic movement. Having been one of the greatest tools for the advancement of humankind up until that point in history, for society to advance further into the utopian future than the movement envisioned, the horse had to be reconsidered within the framework of depiction and substituted for mechanical equivalents in real life.

Horses were a compelling subject for Futurist painters in the early 1900s, as they stood on the precipice of an era in which technological advances would slowly render the animals obsolete within the felds of transport and agriculture. Considered as a symbol of strength, speed, and grace, the horse has been one of the most enduring motifs in the history of painting. Some of the earliest known examples of painting were born out of a fascination with this powerful animal; for example, the wall paintings at the Chauvet Cave in France, estimated to have been created around 30,000 B.C. As the centuries progressed, man’s taming of the horse

In his equestrian scenes, Boccioni would typically create an optically sensational network of frenetic brushwork that made a tactile appeal to emotions through an excess of color. In the catalogue for an important Futurist exhibition that Lichtenstein most likely would have attended at The Museum of Modern Art, New York in 1961, Joshua Taylor noted that “the Futurists were not only the frst artists to take cognizance of the dynamism of a technological society, but they also produced works of art of extraordinary emotional impact” (Joshua Taylor, Futurism, New York, 1961, p. 7).

OPPOSITE LEFT:

Umberto Boccioni, Elasticity, 1912.

Pinacoteca di Brera, Milan, Italy, Photo © Mondadori Portfolio / Art Resource, NY

RIGHT:

Umberto Boccioni, Horse, Horseman and Group of Houses, 1914.

Galleria Nazionale d’Arte Moderna, Rome, Image Galleria Nazionale d’Arte Moderna, Rome, Photo: Scala / Art Resource, NY

RIGHT:

Carlo Carrà, The Red Horseman, 1913.

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Lichtenstein maintains this crucial potency and makes an ode to technology through alternative means. He harnesses the power of calculated composition, stacking and layering his planar geometric forms to create a development that appears to fracture the fgure over time. Appearing like a set of images from a flm reel, Lichtenstein recalls the photographic experiments into the nature of motion made by Eadweard Muybridge in the late 1800s. These provided a crucial catalyst of inspiration for Futurist painters as well as Marcel Duchamp in his seminal work Nude Descending a Staircase, No. 2, Philadelphia Museum of Art. By recalling photographic examinations of speed and fnding a common infuence of technology, Lichtenstein is able to recall Futurism’s concerns while maintaining a stylistic application of paint that seems diametrically opposed to Boccioni’s maximalist color use. Lichtenstein explains of his reduced approach to color, “I use color in the same way as line. I want it oversimplifed – anything that could be vaguely red becomes red” (Roy Lichtenstein, quoted in Roy Lichtenstein, exh. cat., Tate Gallery, Liverpool, 1993, p. 12).

LEFT:

Roy Lichtenstein, 1984 Olympic Games, Los Angeles, 1984.

Artwork © Estate of Roy Lichtenstein

RIGHT:

Equestrian competition at the 1984 Olympic Games.

Photo © Rob Brown/ABC via Getty Images.

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In Horse and Rider, Lichtenstein actively expunged the darker political beliefs of the Futurist movement, with its links to early 20th century Fascism, and reclaims the aesthetic for his own apolitical Pop utopianism. Privileging the contrast of pure colors, Lichtenstein also harnesses a sense of movement in the gradation of Ben-Day dots that punctuate the surface. Rather than trying to imitate a sense of naturalistic depth and motion, he creates cerebral depth through interactions between colors and the hazy mesh of successive planes. In Horse and Rider, Lichtenstein enacts a perfect marriage between pop and Futurism, as dynamic movement is expressed through his own aesthetic ends. As such, the present work is a paradigm of his infallible ability to distill the formal vocabulary of a movement while maintaining the individualistic viewpoint that has made him one of the 20th century’s most infuential painters.

O

08.

Andy Warhol

1928-1987

Roy Lichtenstein signed and dated “Andy Warhol 76” on the overlap acrylic and silkscreen ink on canvas 40 x 40 in. (101.6 x 101.6 cm.)

Executed in 1976.

Estimate $300,000 - 400,000

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Provenance John C. Stoller & Co., Minneapolis Acquired from the above by the present owner

Exhibited Seattle Art Museum; Denver Art Museum, Andy Warhol: Portraits, November 19, 1976 - March 27, 1977 West Palm Beach, Norton Gallery & School of Art, summer 1998 (on extended loan)

Literature Neil Printz and Sally King-Nero, eds., The Andy Warhol Catalogue Raisonné: Paintings and Sculpture, late 1974-1976, vol. 4, London, 2014, no. 3306, p. 451 (illustrated, p. 445)

LEFT:

Robert Rauschenberg, Roy Lichtenstein and Andy Warhol at a party at Rauschenberg’s New York City studio, 1965.

Photo © Bob Adelman Estate

OPPOSITE:

Andy Warhol, Roy Lichtenstein (4 works), 1975.

Artwork © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York

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The essence and impact of Pop Art need only be defned by two names: Andy Warhol and Roy Lichtenstein. Roy Lichtenstein is one of only four portraits in the 40-inch square format that Warhol made of the fellow artist, completed in exchange for artworks by Lichtenstein. Similar to the trades Warhol made with other renowned painters such as David Hockney, the present portrait is testament to a bond of friendship and a sign of deep mutual respect. As an expression of Warhol’s enduring tendency to paint the most important artists of his time, another example from this important set of four portraits resides in the founding collection of the Andy Warhol Museum, Pittsburgh. Enlivened with luscious pastel tones and seemingly enhanced with subtle fashes of eye shadow and lipstick, Warhol’s silkscreen presentation of Lichtenstein is aforded the movie star treatment that underpinned his iconic portraits of Marilyn Monroe from the preceding decade.

In the present work from 1976, the monochromatic backgrounds of these earlier portraits are enlivened with a vibrancy that speaks of the personal relationship between the two artists and the personal encounter that gave birth to the image. The project originated from a friendly agreement, in which Warhol would gif portraits of Roy and his wife Dorothy. In February 1975, Warhol took 22 Polaroids of Lichtenstein at his Southampton studio and subsequently cropped his favorite image to focus on the artist’s pensive and alert expression. Perfectly articulated through the pristine clarity of Warhol’s silkscreen technique, the present work masterfully conveys Lichtenstein’s intellectual prowess and charisma.

In the opening years of the 1960s Andy Warhol famously married the objective realism of photography and the historic power of the genre of portraiture to create a new cast of modern icons in the newfound Pop Art aesthetic. In his idiosyncratic silkscreen technique, he handled consumer objects and celebrities with equal detachment. It was in 1967, during a period in which he otherwise drastically reduced his painterly output, that Warhol made his frst major portrait series depicting artists.

At the time, both Warhol and Lichtenstein worked under the auspices of New York’s most infuential gallerist, Leo Castelli. Ever aware of the gravity of his immediate context, Warhol initiated a series of portraits of artists represented by Castelli, including Lichtenstein, Robert Rauschenberg, Frank Stella, and Donald Judd. Painted in an intimate scale, the three portraits he made of Lichtenstein at this time form an important precursor to the present work. In the 1967 portraits, Warhol used a second-hand photograph supplied to him by Castelli, with a closely cropped format reminiscent of the photobooth paintings he had experimented with earlier in the decade.

By 1976 when Warhol came to make the silkscreen paintings, the artist had frmly established the parameters of his new portrait practice.

Using his beloved grey plastic Polaroid camera, the “Big Shot”, Warhol arranged ad-hoc photoshoots with his notoriously glamorous circle of friends, artists, celebrities, and socialites. Transferring the images to silkscreen in a revival of his idiosyncratic methodology, the artist steadily built a social portrait of his vibrant cultural milieu through individual canvases in the 40-inch square format, a meta-museum that reimagined the pantheon of rock stars and actresses from Old Hollywood that dominated his early work.

The subtle play between the simplifed color forms and the detailed silkscreen foreshadows his Beauties series of the 1980s, where the likes of Debbie Harry and Grace Jones would replace Monroe and Liz Taylor. As Henry Geldzahler would note, under Warhol’s eye, none were impervious to that “lusty yet ethereal limbo where everyone was a star, not only for ffeen minutes, but, in this incarnation caught permanently on canvas, ‘forever’” (Henry Geldzahler, Andy Warhol: Portraits of the Seventies and Eighties, exh. cat., Anthony d’Ofay Gallery, London, 1993, p. 26).

O

09.

Andy Warhol

1928-1987

9 Flowers (i) signed, inscribed and dated “BILLY ANDY WARHOL 64 a.w.

64” on the overlap (ii) signed, inscribed and dated “BILLY Andy Warhol 64” on the overlap (iii) signed with the artist’s initials and dated “A.W. 64” on the overlap; further numbered “P06462” on the stretcher (iv) signed, inscribed and dated “Andy Warhol 64 BILLY” on the overlap (v) signed, inscribed and dated “BILLY A. Warhol A.W. 64” on the overlap (vi) signed and dated “ANDY WARHOL 64” on the overlap; further numbered “P06472” on the stretcher (vii) signed with the artist’s initials and dated “a.w. 64” on the overlap; further numbered “P06471” on the stretcher

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(viii) signed, inscribed and dated “Andy Warhol 64 BILLY” on the overlap (ix) signed, inscribed and dated “Andy Warhol 64 BILLY” on the overlap silkscreen ink on canvas each 8 x 8 in. (20.3 x 20.3 cm.) overall 24 1/ 2 x 24 3/8 in. (62.2 x 61.9 cm.)

Executed in 1964.

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

Provenance (i), (ii), (iv), (v), (viii), (ix) Billy Name-Linich, New York Acquired from the above by the present owner (vi) Leo Castelli Gallery, New York Acquired from the above by the present owner (vii) Leo Castelli Gallery, New York Kornblee Gallery, New York Acquired from the above by the present owner

Literature Georg Frei and Neil Printz, eds., The Andy Warhol Catalogue Raisonné, Paintings and Sculptures 1964-1969, vol. 2B, New York, 2004, nos. 1678-1686, pp. 106, 123 (illustrated, p. 107; dated early 1965)

LEFT:

Andy Warhol’s silkscreen mechanical for Flower paintings, 1964.

Artwork © 2015 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

OPPOSITE:

Andy Warhol, flm historian P. Adams Sitney, and poet Gerard Malanga in the Factory, September 5, 1964.

Photo Fred W. McDarrah/Getty Images, Artwork © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York

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75

Andy Warhol’s iconic Flowers represent the culmination of his revolutionary contribution to the canon of painting in the early 1960s.

The series, which was frst unveiled at Leo Castelli Gallery, New York in 1964, would become his last major series before embarking on a hiatus from painting that would last until the early 1970s. The composite format presented here in 9 Flowers refects Warhol’s aesthetic choice to hang these canvases edge to edge at the Castelli show.

Acquired individually, and later assembled as a multi-part work, the grid presentation of the 8-inch square canvases in 9 Flowers refects the Fitermans’ nuanced understanding of Warhol’s idiosyncratic predilection for serial repetition, as well as of the aesthetics of mass production that underpin Pop Art’s potency. As the frst nine-canvas confguration to come to auction in almost 30 years, 9 Flowers presents a rare opportunity to acquire a preeminent example of Warhol’s defnitive motif, arranged in a manner so true to its original context.

1964 was a crucial year for Warhol: afer a succession of sell-out shows that culminated in the Brillo Box exhibition at Stable Gallery, pioneering gallerist Leo Castelli added Warhol to his historic roster of groundbreaking artists. Uniquely skilled in self-marketing, Warhol featured in spectacular exhibitions on single themes: 32 Campbell’s Soup Cans debuted in July 1962, the Elvis paintings in the autumn of 1963, followed by the Death and Disaster show in January 1964. For his inaugural Castelli show, Warhol eschewed images of celebrity and consumerism in favor of an icon that was timeless rather than timely.

The curator Henry Geldzahler recalls how he serendipitously introduced

“But now it’s going to be fowers— they’re the fashion this year…

They’re terrifc!”

Andy Warhol

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the source material: “…it was all Marilyn and disasters and death. I said, ‘Andy, maybe it’s enough death now.’ He said, ‘What do you mean?’

I said, ‘Well, how about this?’ I opened a magazine to four fowers” (Henry Geldzahler, quoted in Tony Sherman and David Dalton, POP: The Genius of Andy Warhol, New York, 2009, p. 235).

1964 also marked the opening of Warhol’s frst factory on 231 East 47th Street. It was there that he asked Billy Name-Linich to decorate the space with mirrors, aluminum paint, and foil, or “silver”. Listed as the probable recipient of six of the panels in 9 Flowers, Billy was a key fgure in Warhol’s inner circle throughout the 1960s. The two met in 1959 when Billy was working as a waiter at the chic Serendipity 3 to support his job as a theater lighting designer, but soon he was acting as Warhol’s “principal architect and decorator, his secretary, his archivist, his studio manager, security man, night watchman and bouncer, his casting director, his handyman, his photographer, his electrician, his magician. Billy was the one Andy counted on” (Glenn O’Brien, “Magic with mirrors: Billy Name’s window into the world of Andy Warhol”, The Guardian, November 8, 2014, online). Recognized as a photographer in his own right, Billy recalls the fortuitous moment in the Factory when Andy suggested, “Here, Billy, you do the stills photography” (Billy Name-Linich, quoted in Sean O’Hagen, “Interview with photographer Billy Name”, The Guardian, September 27, 2015, online). Billy’s images from this time stand as a critical record of what has now become a legendary moment in American art history.

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In keeping with his “jack of all trades” role at the gallery, it is unsurprising that Billy had a hand in the making of Warhol’s Flowers at the Factory. Appropriating a photograph of seven hibiscus fowers originating from the June 1964 edition of Modern Photography, an image that Michael Lobel observed was, “ripe for Warholian plucking,” Warhol cropped three incomplete fowers from the lef edge of the picture, cut out the upper right fower, and rotated it 180 degrees to balance the square composition (Michael Lobel, Andy Warhol Flowers, exh. cat., Eykyn Maclean, New York, 2012, n.p.). The artist recalled his preference for this malleable format: “I like painting on a square because you don’t have to decide whether it should be longer-longer or shortershorter or longer-shorter: it’s just a square” (Andy Warhol, quoted in David Bourdon, Andy Warhol, New York, 1989, p. 191). With the help of his studio assistants, such as Billy, he would then repeatedly run the image through a photostat machine to eliminate three-dimensional details. Finally, he polarized the tonal range and sharpened the background before making the silkscreen. Despite the immensity of the Flowers series, Warhol made only 18 fuorescent pink fower paintings on a white background in the 8-inch format – two of which are present in this masterwork from the Fiterman Collection. The day-glow colors are immediately compressed by the distilled silkscreen image, where an unusual aerial viewpoint condenses space and naturalistic depth.

Warhol, having pioneered mechanical reproduction with his fne art practice by 1962, fnally had the studio space to incorporate a sense of mass production afer opening his legendary “Factory” in 1963. Here he organized assistants in an assembly-line fashion, producing a high volume of Flowers ahead of two major block consignments to Leo Castelli Gallery in New York and Sonnabend Gallery in Paris. Indeed, two of these nine canvases executed in the intimately scaled 8-inch format originate from the 1964 consignment to Leo Castelli Gallery in May. When Warhol exhibited his frst Flowers, at the gallery, he also exhibited in the back room 42 silkscreen paintings depicting Jackie Kennedy Onassis in mourning afer the assassination of her husband, President John F. Kennedy, which had taken place the year before, placing these works in a greater legacy of memento mori.

RIGHT:

Verso of the present lot, (i)

OPPOSITE:

Billy Name at the Factory, 1965 Photo © David McCabe

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Warhol employs the symbolic weight of the hibiscus to represent the feeting quality of beauty and the transience of life – themes that underpinned the Vanitas tradition of 17th century Netherlandish art. At the same time, 9 Flowers also sits in dialogue with the wider tradition of still life painting. Even contemporary critics were quick to note how the fowers appeared “like cut-out gouaches by Matisse set adrif on Monet’s lily pond” (David Bourdon, “Andy Warhol”, Village Voice, December 3, 1964, p. 11). With an astute knowledge of the canon, and an enduring efort to situate his Pop aesthetic within it, Warhol tactfully acknowledges the fower as an enduring motif in the history of painting.

As Gerard Malanga, who also assisted in the production of the Flowers series recalls: “In a funny way, he was kind of repeating the history of art.

It was like now we’re doing my Flower period! Like Monet’s Waterlilies, Van Gogh’s Flowers” (Gerard Malanga, quoted in David Dalton and David McCabe, A Year in the Life of Andy Warhol, New York, 2003, p. 74).

In 9 Flowers, like in the retouched photographs behind his iconic portraits of Marilyn Monroe and Elizabeth Taylor, Warhol employed commercial photo editing techniques to foreground the mediation of images as a point of philosophical consideration. As triumphant as Warhol’s fowers appear, they also represent a passing vitality and the insurmountable fragility of life.

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10.

Fernando Botero

b. 1932

The Lovers incised with the artist’s signature and number “Botero 6/6” and stamped with the Fonderia M Italy foundry mark on the top of the base bronze with brown patina 25 1/4 x 52 x 32 3/8 in. (64.1 x 132.1 x 82.2 cm.)

Executed in 1989, this work is number 6 from an edition of 6 plus 2 artist’s proofs.

Estimate $450,000 - 550,000

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Provenance James Goodman Gallery, New York Acquired from the above by the present owner

Exhibited New York, Marlborough Gallery, Inc., Fernando Botero: Recent Sculpture, October 18 - November 24, 1990, no. 25, p. 51 (another example exhibited and illustrated, p. 50)

“What I am interested in is form—gentle, round surfaces, which emphasize the sensuousness of my work.”

Fernando Botero

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Fernando Botero’s The Lovers, 1989 shows the titular fgures, naked and entwined. Relaxed, contented, and immersed in their own intimate world, Botero has captured their forms using the bulbous, exaggerated scale for which he has become so well-known. Indeed, his fgures are instantly recognizable—all the more so as his sculptures in particular have been exhibited throughout the world, from Paris to Florence, Jerusalem to Santiago de Chile. Yet this universality remains anchored in a very Latin American consciousness. Botero has explained that his art may appeal widely, but only because it is based on such strong roots. In The Lovers, the moustache of the male fgure links him to other fgures who appear in Botero’s works, ofen inspired by the fgures of his native city Medellín.

In a sense, it is in his sculptures such as The Lovers that Botero’s self-proclaimed status as a “post-abstract realist” can be best perceived. Rooted in an overtly fgurative style, Botero transforms his subjects by tampering with their scale. In the case of The Lovers, this transformation is particularly striking, as their naked forms serve as a perfect foil for his explorations of the exaggerated volumetric depiction of the human fgure. At once stylized and naturalistic, their bodies and faces are translated into a mass of ripples and humps, a human topography. The keen sense of observation and humanity that lies at the heart of so much of Botero’s work is especially evident in the central seam of the sculpture, where the limbs of the two lovers weave and overlap. In this, the intertwining cylinders of bronze take on an almost abstract quality, zigging and zagging, darting from side to side, introducing a fascinating dynamism between the bulks of the two forms. At the same time, they speak eloquently of the attachment and intimacy between these characters.

LEFT:

Gustav Klimt, The Kiss, 1907-1908.

Oesterreichische Galerie im Belvedere, Vienna, Austria, Photo © Erich Lessing / Art Resource, NY

RIGHT:

Auguste Rodin, The Kiss, circa 1882.

Musée des Beaux-Arts, Lyon, France, Photo © RMN-Grand Palais / Art Resource, NY

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It was over three decades before The Lovers was conceived that Botero enjoyed the realization that lies at the heart of so many of his most recognizable works. It was in the mid-1950s that Botero had begun to see the artistic potential of disrupting the sense of scale found in the surrounding world. This had initially come about when he had been painting a still-life of a mandolin: he had realized that, by shrinking the size of the aperture in the instrument’s surface, he could tamper with its entire sense of scale, lending it a new, distorted monumentality. Soon aferwards, he began to explore this in a number of other subject matters, playing with scale through infation, an idiosyncratic motif that has become synonymous with the artist. A constant in Botero’s paintings from that point onwards, it was only in the early 1960s that he began exploring its potentiality

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in sculpture, the investigation ultimately leading to works such as The Lovers.

Experimenting with sculpture for a number of years prior to this, it was in the 1970s that he truly began to discover the medium’s potential when wedded to his own unique aesthetic. He became so fascinated with the results of the sculptures he created afer moving to Paris from New York in 1973 that for a couple of years—1976 and 1977—he essentially abandoned painting, focusing solely on the plastic arts.

In the early 1980s, this new-found enthusiasm for sculpture saw him acquire two buildings in Pietrasanta, Tuscany, positioning him near the marble quarries used by Michelangelo, and a number of the world’s best bronze foundries, which had sprung up around the quarry. It is in

Fernando Botero at his house and studio workshop in July 1995 in Pietra Santa, Tuscany, Italy.

Photo by Catherine Panchout/Sygma via Getty Images, Artwork © Fernando Botero

the foundries of Pietrasanta that artists as diverse as Henry Moore, Joan Miró and Jef Koons have had their works cast. Botero still today divides his time between his main homes in Paris and Pietrasanta, devoting himself to sculpture while in the latter. This reveals the way in which Botero’s works are underpinned by a conscious communion with the Old Masters of Renaissance Italy. It was, afer all, during his time in Florence in the 1950s when he had begun to consolidate his style, abandoning the freworks of conspicuously and self-consciously avantgarde painting in order to create works that conveyed a sense of form, volume, and fgure.

Working in that same classical sculptural tradition as his predecessors, Botero initially creates a clay maquette that is then scaled up in

plaster, followed by the creation of a cast used to ultimately render his model in bronze. Botero’s attention to detail can be perceived in The Lovers and its fellow sculptures in the deep resonance of its patina, one which accentuates the sensuality of the curves of his fgures. They are granted an emphatic physicality, bursting with life and the raw power of existence. “By being infated, Botero’s characters and objects become light and serene, achieving a primordial and innocuous state”, wrote the author Mario Vargas Llosa, in words that could apply to The Lovers.

“At the same time, they become still. Immobility descends on them like Lot’s wife, when she succumbed to curiosity and looked back” (Mario Vargas Llosa, Fernando Botero: Celebración/Celebration, exh. cat., Museo de Bellas Artes de Bilbao, Bilbao, 2012, p. 25).

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11.

Alexander Calder

1898-1976

Black Gamma each vertical element consecutively numbered “1-8”; incised with the artist’s monogram and date “CA 66” on the element numbered 8 sheet metal, wire and paint 108 x 144 x 100 in. (274.3 x 365.8 x 254 cm.)

Executed in 1966, this work is registered in the archives of the Calder Foundation, New York, under application number A00977.

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

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Provenance Galerie Maeght, Paris Acquired from the above by the present owner in 1974

Exhibited Berlin, Akademie der Künste, Alexander Calder, May 21 - July 16, 1967, no. 43, p. 41 Saint-Paul-de-Vence, Fondation Maeght; Humlebæk, Louisiana Museum of Art; Amsterdam, Stedelijk Museum, Calder, April 2 November 16, 1969, no. 240, p. 80 Nièvre, Château de Ratilly, Calder/Bazaine, June 19 - September 10, 1970, pl. 15, p. 27 (illustrated, p. 25) Milan, Studio Marconi, Calder, April - May 1971 Albi, Musée Toulouse-Lautrec, Calder, June 23 - September 15, 1971, no. 22, p. 16 (illustrated, p. 35; dated 1969) Zurich, Galerie Maeght, Alexander Calder: Retrospektive, May 24 - July 1973, no. 9, p. 19 Minneapolis, Walker Art Center, Calder’s Universe, June 5 August 14, 1977

LEFT:

Alexander Calder, Gamma, 1947.

Collection of Jon A. Shirley, Photo courtesy Calder Foundation, New York / Art Resource, NY, Artwork © 2019 Calder Foundation, New York/ Artists Rights Society (ARS), New York

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Suspended from the ceiling, Alexander Calder’s Black Gamma, 1966 is in constant motion. The black elements ceaselessly gyrate, pushed by the tiny eddies in the space they occupy. There is a fractal-like element to the composition, with some of the wires holding weights balanced by a succession of smaller forms, each becoming oscillating mobiles in miniature. The sense of movement overall is orchestral, with big notes and little notes providing counterpoints to each other, rendering it endlessly mesmerizing. This efect is reinforced by the composition, with one side arranged more horizontally than the other vertical element, which tumbles downwards in a succession of everdiminishing abstract shapes. Executed in 1966, Black Gamma perfectly encapsulates all the lyricism of Calder’s celebrated mobiles, and allows it to play out on a large scale with its expansive reach. Exhibited extensively in shows around the world from 1967-1973, and then loaned by the Fitermans to the Walker Art Center for the artist’s renowned exhibition Calder’s Universe in 1977, the work has not been seen by the public in over four decades.

While the vertical, cascading element of Black Gamma recalls organic specimens, the mobile in its ever-stirring entirety activates the unseen forces of nature, shaping its surrounding space in unexpected ways.

“To me whatever sphere, or other form, I use in these constructions does not necessarily mean a body of that size, shape or color, but may mean a more minute system of bodies, an atmospheric condition, or even a void. I.E. the idea that one can compose any things of which he can conceive” (Alexander Calder, “A Propose of Measuring a Mobile”, manuscript, Calder Foundation archives, 1943).

of moving wires and weights, hanging vertically, while the other side is more horizontal. Almost 20 years later in Black Gamma, Calder has pared back the composition and aesthetic of the earlier mobile: despite increasing the scale, he has reduced the number of elements, now favoring larger, more emphatic pieces of sheet metal. In addition, he has abandoned the polychrome aspect of Gamma, presenting the new work entirely in black. This elegant restraint heightens its drama, especially when seen from below against the plainness of a ceiling.

There is an incessant play of light, shadow, darkness and movement in Black Gamma. In this way, the work resonates with the aesthetics of Barnett Newman and Robert Motherwell, imbuing the complex parts and engineering of the balancing mobile with a heightened sense of visual resolution.

The scale of Black Gamma ties into developments in Calder’s own life. When he had created his frst mobiles in Paris in the 1930s, he worked on a more intimate scale. Later, he moved to a larger house in Connecticut, then to Aix-en-Provence in France, before fnally acquiring a farmhouse in Saché. These spaces were tailored increasingly to the artist, and allowed him to expand and expand. While he had made mobiles on this scale before, it was now much easier for him to do so, and he appears to have relished the opportunity. It was in 1963 that he had acquired his Saché home; Black Gamma was made three years later, and manages to teeter between the intimate and the monumental: its smaller elements invoke a world in miniature while the entirety has a span of roughly ten feet.

Calder had already worked on a large scale in previous years, such as in an earlier, 1947 mobile entitled Gamma to which the present work relates. Gamma, now owned by Jon A. Shirley – the bulk of whose collection has been promised to the Seattle Art Museum – presented the viewer with a similar composition; one side appears to comprise

“People think that monuments should come out of the ground, never out of the ceiling, but mobiles can be monumental too.”

Alexander Calder

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Alexander Calder photographed with the present lot in his studio, 1966.

Photo courtesy of Calder Foundation, New York / Art Resource, NY, Artwork Š 2019 Calder Foundation, New York/ Artists Rights Society (ARS), New York

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Calder’s initial incorporation of movement into his works had been in the ingenious devices that he had created to great acclaim in the early part of his career, as demonstrated by the sword-swallowers, lions, and trapeze-artists of his legendary Cirque Calder, now at the Whitney Museum of American Art, New York. The mobile frst came into existence around the same period, when Calder had visited the studio of his friend, the Dutch painter Piet Mondrian. “It was a very exciting room,” Calder would later recount. “Light came in from the lef and from the right, and on the solid wall between the windows there were experimental stunts with colored rectangles of cardboard... I suggested to Mondrian that perhaps it would be fun to make these rectangles oscillate. And he, with a very serious countenance, said: ‘No, it is not necessary, my painting is already very fast’” (Alexander Calder, Calder: An Autobiography with Pictures, New York, 1966, p. 113). Calder credited this with being the launch of abstraction in his own work, as he was undeterred by Mondrian’s comment, and began to make forms move in space. Such was the inception of the mobile. Over the coming decades, Calder would make this development an internationally-recognized hallmark of his work, as demonstrated in the present work.

It was later that Calder began to confront the staid restraint with which artworks were displayed at the time. He started to present his standing works on the foor, rather than on pedestals, and in his hanging mobiles such as Black Gamma, he occupied the space suspended under the ceiling. This had formerly been the arena of painters such as Michelangelo, and seemingly not of sculptures, less so of those that move. Yet Black Gamma dominates the ceiling, with its constellation of black panels and its arms stretching out wider than a human is tall.

Three years before Black Gamma was made, the author Michel Ragon wrote of Calder’s works in terms that clearly apply here: “A Calder is a sort of chandelier, which like all chandeliers hangs from the ceiling, but which, in contrast to other chandeliers, is not used as a light fxture, but as a perch on which to rest our dreams” (Michel Ragon, quoted in Jacob Baal-Teshuva, Alexander Calder 1898-1976, Cologne, 2002, p. 24).

LEFT:

Hans Arp, Confguration, 1931.

Museum Sztuki w Lodzi, Poland / De Agostini Picture Library / M. Carrieri / Bridgeman Images, © 2019 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

OPPOSITE:

The present lot installed at Fondation Maeght, Saint-Paul-de-Vence, France, 1969.

Photo courtesy of Calder Foundation, New York, Artwork © 2019 Calder Foundation, New York/Artists Rights Society (ARS), New York

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12.

David Hockney

b. 1937

Study from Parade Triple Bill signed and dated “David Hockney 1980� on the reverse oil on canvas 36 x 48 in. (91.4 x 121.9 cm.)

Painted in 1980.

Estimate $600,000 - 800,000

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Provenance André Emmerich Gallery, New York Acquired from the above by the present owner on March 24, 1981

Exhibited New York, André Emmerich Gallery; London, Riverside Studios (no. 120, p. 9), David Hockney: Paintings and Drawings for the Metropolitan Opera’s “Parade”: A French Triple Bill, March 26 - June 7, 1981; then traveled as Paris, Galerie Claude Bernard, David Hockney: Peintures, Gouaches et Crayons de Couleurs pour les Décors et Costumes de Les Mamelles de Tirésias, L’enfant el les Sortilèges, Parade, June 17 - August 1, 1981 Minneapolis, Walker Art Center; Toronto, Art Gallery of Ontario; Chicago, Museum of Contemporary Art; The Fort Worth Art Museum; San Francisco Museum of Art, Hockney Paints the Stage, November 20, 1983 - May 26, 1985, p. 59 (illustrated in the artist’s home); then traveled as Mexico City, Museo Tamayo, El gran teatro de David Hockney, February 19 - April 15, 1984

Literature Peter Webb, Portrait of David Hockney, London, 1988, p. 189

OPPOSITE:

The present lot photographed in David Hockney’s Hollywood home, 1982.

Artwork © David Hockney

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David Hockney’s Study from Parade Triple Bill, 1980 depicts a theatrical stage scene, throwing the viewer headlong into a range of cultural references. Composers Erik Satie and Francis Poulenc are named on the wings towering above the composer silhouetted against orchestra lights, while the palpable spirit of Pablo Picasso is captured in the myriad forms that punctuate the stage. These allusions are apt given that Study from Parade Triple Bill relates to the 1981 revival of the titular 1916-1917 ballet, which had been scored by Satie, performed by Sergei Diaghilev’s Ballets Russes, and featured costumes and set design by Picasso himself.

Hockney had worked on stage design several times throughout his career, beginning with a production of Alfred Jarry’s Ubu Roi at the Royal Court, London in 1966, and subsequently working with the opera at Glyndebourne. He was therefore a natural choice for John Dexter, the Director of Productions at the Metropolitan Opera House in New York. Tasked with injecting new life into the institution, Dexter made the controversial decision to stage a triple bill—a supposed kiss of death in opera—with the reprisal of Parade, choreographed by Rudolf Nureyev, to be shown alongside Les Mamelles de Tirésias, written by Guillaume Apollinaire and scored by Poulenc, and L’enfant et les Sortilèges, composed by Maurice Ravel with the novella by Colette. Satie’s earlier debut of Parade in 1917 remained a benchmark of creative theatre, not

LEFT:

Poster designed by David Hockney for Parade at the Metropolitan Opera, New York, 1981.

Artwork © David Hockney

RIGHT:

David Hockney’s Parade, as performed at the Metropolitan Opera, New York, 1981.

Artwork © David Hockney

OPPOSITE LEFT:

David Hockney’s Parade, as performed at the Metropolitan Opera, New York, 1981.

Artwork © David Hockney

RIGHT:

Pablo Picasso’s set for Parade, 1917.

Artwork © 2019 Estate of Pablo Picasso Artists Rights Society (ARS), New York

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least because of Picasso’s involvement. Rather than approach the subject matter anew, Hockney embraced this heady cultural legacy.

Hockney’s Parade openly recognizes the legacy of but does not pay slavish homage to Picasso, referencing his modern predecessor’s motifs in every stage, as evident in his reprisal of the former artist’s stage curtain.

In Study from Parade Triple Bill, the barbed wire strewn across the stage invokes the era in which the ballet had originally been performed at the height of trench warfare in the World War I, with enemy guns blaring within a short distance of Paris. The French capital is explicitly depicted by the abbreviated form of the base of the Eifel Tower, appearing like a reduced excerpt from a painting

by Robert Delaunay. The subtext of Parade, of the ballet being performed to acclaim against the backdrop of confict, of culture winning through even such inhumane turmoil as the First World War, particularly suited Hockney, a committed pacifst.

Picasso’s legacy was all the stronger in Study from Parade Triple Bill and its related pictures due to the moment when they were undertaken. Around this time of the early 1980s, Picasso had been given a posthumous retrospective at The Museum of Modern Art,

New York with four dozen rooms flled with works from his earliest childhood drawings and paintings through to the early 1970s.

Hockney was energized by this show. Having initially carried out his conceptual designs for Parade, in response to Picasso, he now turned to oil on canvas, the medium used in the present work. He had visited the retrospective on his way to London from his adoptive home in Los Angeles; over the next two months in his Kensington studio, he would create almost twenty paintings, revealing his enthusiasm both for the act of painting and for the subject matter, Parade.

Hockney’s set design for the Met included a number of innovations.

Because of the playful nature of L’enfant et les Sortilèges, in which a boy torments various animate and inanimate victims before they turn the tables on him, Hockney had acquired some colored blocks from a toyshop and arranged them to spell out the composer’s name, Ravel. Dexter responded so enthusiastically to this concept that it was elaborated in miniature; as Hockney recalled, “[the blocks have] all got six sides and we can fick them over and represent with diferent sides of the blocks things like the furniture, etc. That afernoon we blocked the whole thing out. I crudely painted the sides of the blocks, making a freplace, furniture, books and so on, to

show how they could be transformed” (David Hockney, quoted in Nikos Stangos, ed., That’s the Way I See It, London, 1993, p. 58). In Study from Parade Triple Bill, some of these blocks can be seen on the stage, rendered in sky blue.

Playful solutions like this made Hockney’s designs so efective. The triple bill was a huge success, and received critical acclaim. Writing in The New York Times, John Russell began by citing Hockney’s prior experience: “With his paintings, his drawings, his prints and his stage designs (for Stravinsky’s ‘Rake’s Progress’ and Mozart’s ‘Magic Flute,’ both at the Glyndebourne Opera in England) he has endeared himself to all but a skeptical minority” (John Russell, “David Hockney’s Designs for Met Opera’s ‘Parade’”, The New York Times, February 20, 1981, online). In his review, Russell explained the extent to which all three elements—the ballet and the two operas—were theoretically almost un-stageable. And yet Hockney had overcome any limitations in order to create a design that ft all three pieces. Study from Parade Triple Bill is a part of that triumph, and this is demonstrated by its exuberant colors, the conveyed energy and dynamism of the stage, and its manylayered plays on representation.

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13.

Andy Warhol

1928-1987

Soup Can signed and dated “Andy Warhol 62” on the reverse graphite on paper 21 7/8 x 15 in. (55.6 x 38.1 cm.)

Executed in 1962.

Estimate $700,000 - 900,000

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Provenance Locksley Shea Gallery, Minneapolis Acquired from the above by the present owner

Exhibited The Minneapolis Institute of Arts, Drawings and Watercolors from Minnesota Private Collections, May 13 - June 13, 1971, no. 95, n.p. (illustrated)

LEFT:

Campbell’s magazine advertisement, 1960s.

Image © The Advertising Archives / Bridgeman Images

OPPOSITE:

Campbell’s Soup can packing in Philadelphia.

Image © Universal History Archive/UIG / Bridgeman Images

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Composed of a dense framework of considered graphite marks, Andy Warhol’s Soup Can introduces one of the most iconic motifs of Pop Art into wider popular consciousness, initiating Warhol’s enduring legacy within history of 20th century image making. Evincing his skills as a charismatic draughtsman, the work demonstrates the unwavering importance of drawing as a foundation of his wider oeuvre, a deeply personal practice that he would maintain throughout his career until his untimely passing in 1987. Taking a quotidian object and allegorizing its potent symbolism of mass consumer society, the present work illustrates Warhol’s transition from one of New York’s most prominent commercial illustrators to a fne artist of unprecedented infuence. The

collection history of this important drawing also provides insight into Warhol’s burgeoning presence beyond his famed Manhattan milieu. The drawing was acquired by Miles and Shirley Fiterman through Gordon Locksley and George Shea of Locksley Shea Gallery, an avant-garde enterprise in their native Minneapolis that provided a direct conduit between the city and the New York art scene. Locksley introduced the Fitermans to Warhol when he frst visited Minneapolis in the 1960s, which inaugurated a long-lasting friendship. As one of the earliest works by Warhol in their extensive collection of seminal works, Soup Can illustrates the couple’s longstanding patronage of the artist, and its importance to Warhol as his star began to rise.

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While Warhol’s practice is defned by the range of media with which he engaged, from painting to flm and installation, Soup Can demonstrates how his oeuvre was fundamentally rooted in the act of drawing. Here we see that the medium formed the basis of his engagement with some of his most important motifs. Graduating from Schenley High School in his native Pittsburgh, Warhol deployed exceptional talent as a visual artist even as a teenager, winning a prestigious Scholastic Art and Writing Award. As a child he also displayed exceptional aptitude in his classes at the Carnegie Museum of Art, where he won several prizes for his drawings. The professionalization of his natural ability as an illustrator began when he was a college student at the Carnegie Institute of Technology, where he channeled his burgeoning talents as art director of the student art magazine, Cano. Illustrating a cover for the publication in 1948 and a full-page interior illustration in 1949, it was during these years that Warhol experimented with his signature blotted line technique that would catapult his career as one of the most in-demand commercial illustrators over the course of the 1950s.

Foreshadowing his iconic silkscreen paintings and the introduction of mechanical techniques into the arena of fne art, Warhol’s blotted line method combined both drawing and basic printing. Sketching elegant line drawings on tracing paper, Warhol would go over certain lines with fountain pen and then blot a second more absorbent paper on top to create beautifully broken lines. The production style allowed him to quickly produce multiple options for clients when composing advertisement ideas. This experience gave Warhol crucial insight into the mass mediation of images and their infuence on the American psyche.

However, as Warhol strove to make the transition into the area of fne art, he abandoned the whimsical fourishes of his illustrative works in search of a precise realism that ofered a new and timely perspective on consumer society. As an exemplary drawing that witnesses the fnal

stages of this transition, Soup Can is composed of sketched lines that clearly demarcate the subject and provide it with monumentality, while sofly imbuing it with frenetic energy through delicate cross-hatching.

As such, the work shows both the making of a defning moment in art history as well as the artist’s personal reverence for one of his everyday icons.

Sketched as a pensive exercise and master drawing in its own right, Soup Can stages a rebellion against the elaborate conventions of the still life genre. Seemingly foating in an abstract space, Warhol elevates the common food item to icon status by privileging its unique and arresting visual properties. Warhol takes this a step further, however, by deconstructing a familiar image before our very eyes. As noted by the infuential literary theorist and semiotician Roland Barthes, “What Pop art wants is to desymbolize the object, to give it the obtuse and matte stubbornness of a fact” (Roland Barthes, quoted in Paul Taylor, ed., Post-Pop, Cambridge, 1989, p. 25).

In the present work however, Warhol also leaves us a tantalizing point of entry. While he enshrines the graphic efcacy of the famed Campbell’s Soup label – distilling its basic forms so that it remains instantaneously recognizable despite an economizing of detail – he also leaves the lower section empty, where the favor of the soup would be ordinarily be written. As such Warhol plays a characteristically ambiguous game of multi-layered signifcation: does the empty label make an appeal to memory, allowing our personal associations to designate the content of the can; or is it that, in the process of mediation and the movement of the soup can into a new critical context, the image itself has been rendered empty, a hollow form purposed primarily for aesthetic contemplation. As a testament to Warhol’s enduring genius, he condenses in Soup Can the historic confict between content and form and, instead of making claims to resolve it, he simply continues to whet our appetite.

OPPOSITE:

Andy Warhol shops at Gristedes Supermarket in New York, 1964 Photo © Bob Adelman Estate

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14.

Joan Miró

1893-1983

Conque incised with the artist’s signature and number “Miró 4/6” and stamped by the foundry “SUSSE FONDEUR Paris” along the bottom bronze with brown and green patina 43 3/8 x 31 1/2 x 19 5/8 in. (110.2 x 80 x 49.8 cm.)

Conceived in 1969, this work is number 4 from an edition of 6.

Estimate $600,000 - 800,000

106

Provenance

Literature

Galerie Maeght, Paris Acquired from the above by the present owner on June 27, 1977 Milan, Galleria Arte Borgogna, Miró/sculture, December 1970 - January 1971, no. 16, n.p. (another example exhibited and illustrated)

Alain Joufroy and Joan Teixidor, eds., Miró Sculptures, Paris, 1980, no. 120, p.

234 (another example illustrated, p. 78) Pere Gimferrer, The Roots of Miró, Barcelona, 1993, no. 1215, p. 403 (another example illustrated) Franco Basile, Joan Miró: Vedi alla voce sogno, Bologna, 1997, p. 227 (another example illustrated) Emilio Fernández Miró and Pilar Ortega Chapel, Joan Miró: Sculptures.

Catalogue raisonné, 1928-1982, Paris, 2006, no. 135, p. 144 (another example illustrated, p. 145)

Exhibited New York, Pierre Matisse Gallery, Miró: Sculpture in Bronze and Ceramic, 19671969, Recent Etchings and Lithographs, May 5 - June 5, 1970, no. 1, n.p. (another example exhibited and illustrated) Paris, Galerie Maeght, Miró: Sculptures, July 23 - September 30, 1970, no. 5, p. 30 (another example exhibited and illustrated, p. 22) Milan, Galleria Arte Borgogna, Miró/sculture, December 1970 - January 1971, no.

16, n.p. (another example exhibited and illustrated) Minneapolis, Walker Art Center; The Cleveland Museum of Art; The Art Institute of Chicago, Miró Sculptures, October 3, 1971 - May 28, 1972, no. 70, n.p. (another example exhibited and illustrated) London, Hayward Gallery, Miró Bronzes, February 1 - March 12, 1972, no. 31, p. 48 (another example exhibited and illustrated on the back cover) Kunsthaus Zürich, Joan Miró, Das plastische Werk, June 4 - July 30, 1972, pl. 19, no. 72, pp. 52, 96 (another example exhibited and illustrated, p. 97) Saint-Paul-de-Vence, Fondation Maeght, Sculptures de Miró, céramiques de Miró et Llorens Artigas, April 14 - June 30, 1973, no. 93, p. 137 (another example exhibited) Paris, Grand Palais, Joan Miró, May 17 - October 13, 1974, no. 249, p. 155 (another example exhibited and illustrated, p. 96) Musée d’Art Moderne de la Ville de Paris, Miró: cent sculptures 1962-1978, October 19 - December 17, 1978, no. 40, p. 95 (another example exhibited and illustrated, p. 53) London, Waddington Galleries, Joan Miró, December 1 - 23, 1981, no. 12, n.p. (another example exhibited and illustrated) Madrid, Centro Reina Sofía; Barcelona, Fundació Joan Miró; Cologne, Museum Ludwig (another example exhibited and illustrated, p. 150), Miró Escultor, October 21, 1986 - June 8, 1987, no. 61, p. 136 (another example exhibited and illustrated)

LEFT:

Miles and Shirley Fiterman at their home with the present lot in the foreground.

Photograph courtesy of authorized representatives of Shirley Fiterman, Artwork © 2019 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris

108

109

Executed in 1969, Conque is a striking example of Joan Miró’s acclaimed sculptural practice that came to defne much of the last two decades of his career. Beginning in the late 1950s, the artist continued to challenge artistic conventions as he shifed his focus from painting to sculpture.

Showcasing this exploration, the present work is both an invitation and a seductive trap. Smooth and tactile, the shiny exterior of this three and a half-feet high bronze sculpture is punctuated by a scattering of bulbous protrusions emerging like miniature horns and volcanoes from a tar-like monolith, alluding to some tumult of life barely concealed below the surface. Combined with the incised lines, circles, and star, the surface of Conque appears not only biomorphic, but also biographical, as the viewer is able to trace the artist’s own movements writ large in the bronze surface. In stark contrast, the interior ofers a deliberately roughhewn surface in an oxidized copper hue. As its name suggests, this sculpture is shell-like, and the interior serves as a comfortable haven, bufeted from the slings and arrows of everyday life by the thick wall of metal that curves around that inner sanctum.

LEFT:

OPPOSITE:

Sandro Botticelli, The Birth of Venus, 1486.

Alexander Calder with Dolores, Pilar, and Joan Miró, Varengeville, summer 1937.

Ufzi, Florence, Italy, Photo © Scala / Art Resource, NY

RIGHT:

Lucio Fontana, Concetto Spaziale, La Fine di Dio, 1963.

Private Collection, Photo © DeA Picture Library / Art Resource, NY Artwork © 2019 Artists Rights Society (ARS), New York / SIAE, Rome

110

Image Hans Hartung/Calder Foundation, New York/Art Resource, NY

During the period when Miró created Conque, he would ofen fnd inspiration in the materials he found around him, walking in the countryside or on the beach. A turtle’s shell, a piece of wood, a hat, a conch… These could all be taken up by the artist as inspiration to be incorporated into his work. In some cases, the incorporation was quite literal: his assemblages and sculptures ofen show the traces of the objects themselves, readymades that have been absorbed to become part of the fabric of the work itself. In other cases, this integration is more elusive. This appears to be the case with Conque, which is linked thematically to the conch shell of the same name, yet which has been smoothed and simplifed, as well as magnifed, in order to become the sculpture we see before us. Miró has used the conch as a springboard for his own creative pursuit. His very personal response to the theme can be seen in the marks he has inscribed in the surface, the lines which run like rivulets through the dark bronze, in particular the cluster that forms a diagrammatic star, recalling his lyrical paintings such as the earlier Constellations.

In addition to its seductive play with tactility, Conque reveals Miró playing with signs and with space. The eponymous shell has been transformed into something resembling a giant, part-open egg, invoking the very essence of creation. Indeed, with its small protrusions and the large chasm at its center, it becomes a microcosm of the entire nature of reproduction. The womb-like shelter at the core of Conque can be seen as a continuation of the themes of sex and reproduction that featured so prominently in many of his works, even from the highpoint of Surrealism. Looking at Conque through this prism, it can even be seen as a companion to the Janus sculptures being created at the same time by his former protégée, Louise Bourgeois.

Miró’s interest in the void hints at a more formal investigation of the nature of existence: presence and absence are not just evoked, but also encapsulated in Conque. In this, the sculpture is shown as highly germane to the evolution of Miró’s pictures during the same period, when he was paring back the elements in order to create works that were minimal, and therefore brought an increasing emphasis to what

was there. In this, he was also distilling the potency of the lexicon of signs that he had created over the course of his career. Conque too brings to the fore a distinctly organic character, while also displaying some of Miró’s highly recognizable signs.

Despite the emphasis on reduction that can be perceived in Conque, especially when compared to some of Miró’s other sculptures of the time, which ofen incorporated eccentric combinations of elements, there remains an irrepressible exuberance. “The sculptures from the last two decades of Miró’s productive life took on a broad place and force”, Jacques Dupin has noted. “For Miró, sculpture became an intrinsic adventure, an important means of expression that competed with the canvas and sheet of paper…without ever simply being a mere derivative or deviation from painting…He dreamt of the street, public squares, gardens and cities. Just as he had always sought to transgress painting, he now sought to transgress his own work” (Jacques Dupin, Miró, Barcelona, 2004, pp. 361- 367).

111

O

15.

Alexander Calder

1898-1976

White Versus Yellow incised with the artist’s monogram and date “CA 73” on the base sheet metal, wire and paint 30 1/ 2 x 26 1/ 2 x 5 3/4 in. (77.5 x 67.3 x 14.6 cm.)

Executed in 1973, this work is registered in the archives of the Calder Foundation, New York, under application number A02178.

Estimate $500,000 - 700,000

112

Provenance Estate of the Artist M. Knoedler & Co., Inc., New York Acquired from the above by the present owner on October 24, 1978

Exhibited New York, M. Knoedler & Co., Inc., Alexander Calder: Sculpture of the 1970s, October 4 - November 2, 1978, p. 5 (illustrated)

Literature Maurice Bruzeau, Calder à Saché, Paris, 1975, (illustrated in the artist’s studio, pl.

27, p. 29; pl. 240, p. 153; pl. 249, p. 162; illustrated, pl. 237, p. 150) Calder Gouaches, exh. cat., Galerie Brame & Lorenceau, Paris, 2008, p. 19 (illustrated in the artist’s studio)

LEFT:

Shirley Fiterman photographed with the present lot, circa 1985.

Photograph courtesy of authorized representatives of Shirley Fiterman, Artwork © 2019 Calder Foundation, New York/Artists Rights Society (ARS), New York

OPPOSITE:

The present lot photographed in Alexander Calder’s studio, circa 1973.

Artwork © 2019 Calder Foundation, New York/Artists Rights Society (ARS), New York

114

When the photographer Jacques Masson visited the Saché home of Alexander Calder to take pictures for a 1975 book on the artist by the poet Maurice Bruzeau, he was able to capture a vivid sense of the organized chaos of the studio. There is a fzz of creativity to the images of jostling mobiles, tools and pictures, with the big windows letting in their light. The place looks like the lair of an eccentric inventor—not an entirely inaccurate summation. Calder channeled his eccentricity

into creating some of the most enduringly captivating works of art of the 20th century. It is telling that in a number of the photos Masson took, he featured White Versus Yellow, a standing mobile created only a couple of years before the publication date. White Versus Yellow is shown in the general chaos of the studio’s interior, towering over some of its contemporaries from its aerie on the workbench. Likewise, Masson chose to photograph it up close, one image capitalizing on the vivid white of some of the petal-like elements in order to create a dynamic contrast with the background. It is a tribute to the visual drama of this sculpture that it holds its own in both color and black-and-white images.

Afer all, as its title indicates, White Versus Yellow is clearly intended as a play on color and principles of disparity. When the mobile element that crests the sculpture is viewed from one direction, its elements appear white, but on the other side they are all a uniform yellow. As the panels move around, this underpins the constant sense of fux and transformation in which Calder’s mobiles are steeped.

116

The visual impact of White Versus Yellow is made all the more vivid by its scale—it is over two feet tall, with an angled red stem holding up the moving parts—and by its rigorously-controlled palette. This sculpture contains only black, red, and the yellow and white of the title. The black has been limited to the counterweight, which is seen as the same color from both sides; likewise, the base and wires are entirely red. It is only the rotating fns on one side that switch so dynamically from one side to the other, one color to the other.

pair of pliers, fnding these adequate to create mobiles. He renounced an over-reliance on technology, and indeed technique. It was by narrowing the parameters of his art-making, both in terms of process and palette, that he managed to create the poetry that renders his works such as White Versus Yellow so engaging and entrancing.

White Versus Yellow perfectly encapsulates the careful balance between poetry and innovation that Calder managed to instill so efortlessly in his art. It is in constant motion, with its appearance afected by the slightest breeze in the space it occupies, even by a passing viewer. It interacts with its environment; at the same time, it is a source of visual fascination, constantly shifing and changing. The yellow and white elements run downwards in a step-like succession, contrasting with the more monolithic black piece on the other side.

They vibrate relative not only to the base, but also to each other, creating a shimmering efect that demands our attention. Looking at this sculpture, it is easy to understand why Calder’s mobiles saw him become an international phenomenon. It was in the early part of the 1970s when this work was created that Calder’s popular acclaim reached its peaks when Branif International Airlines commissioned him to decorate their DC-8 jets.

Calder was ofen noted for his idiosyncratic approach to creating art.

“Calder is a school of one,” the Daily News announced in 1972, only a year before White Versus Yellow was created (Jean Lipman, Calder’s Universe, London, 1977, p. 267). This extended to his use of materials.

While in some of his larger-scale projects, including the painting of the DC-8, he would have his work scaled up by artisans, he usually preferred to do it all himself. Creating a mobile was a partly-intuitive process, as he explained to Selden Rodman: “About my method of work: frst it’s a state of mind. Elation. I only feel elation if I’ve got ahold of something good… I start by cutting out a lot of shapes. Next, I fle them and smooth them of. Some I keep because they’re pleasing or dynamic. Some are bits I just happen to fnd. Then I arrange them, like papier collé, on a table, and ‘paint’ them—that is, arrange them, with wires between the pieces if it’s to be a mobile, for the overall pattern. Finally I cut some more on them with my shears, calculating for balance this time” (Alexander Calder, quoted in Jean Lipman, Calder’s Universe, London, 1977, p. 264).

These techniques allowed Calder to function using only a small number of tools—he would sometimes travel with little more than a

OPPOSITE:

Alternate view of the present lot ABOVE:

Alexander Calder working on a maquette for a mobile, circa 1973.

Artwork © 2019 Calder Foundation, New York/Artists Rights Society (ARS), New York

117

Property from the

DAY SALE, NEW YORK

lots. 113/139

Fiterman Collection

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113. Joseph Cornell

1903-1972

Untitled Estimate $80,000 - 120,000

120

signed “Joseph Cornell� on a label afxed to the reverse printed paper collage, acrylic, clay pipe, cork ball, and metal in a wood box construction 9 3/4 x 15 1/8 x 3 5/8 in. (24.8 x 38.3 x 9.2 cm.)

Executed circa 1960.

O

114. Joan Miró

1893-1983

Torse de femme Estimate $250,000 - 350,000

incised with the artist’s signature and number “Miró E.A. 1” and stamped with the Fundició Parellada foundry mark on the reverse bronze with grey and brown patina 25 5/8 x 11 3/8 x 5 3/4 in. (65 x 29 x 14.5 cm.)

Conceived in 1967 and cast by Fundició Parellada, Barcelona, this work is artist’s proof number 1 from an edition of 5 plus 3 artist’s proofs and 1 nominative cast.

121

O

115. Joan Miró

1893-1983

Maquette de l’arc de la Fondation Maeght Estimate $180,000 - 220,000

122

incised with the artist’s signature and numbered “Miró 2/8” lower lef; further stamped by the foundry “Susse Fondeur Paris” on the reverse bronze with grey-brown patina 16 1/ 2 x 19 5/8 x 7 1/ 2 in. (42 x 50 x 19.1 cm.)

Conceived in 1962 and cast by Susse Fondeur, Paris, this work is number 2 from an edition of 8 plus 5 artist’s proofs and 1 nominative cast.

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116. Jean Dubufet

1901-1985

Arbre aux deux étages Estimate $250,000 - 350,000

signed with the artist’s initials and dated “J.D. 70” along the lower edge epoxy paint on polyurethane 34 5/8 x 19 5/8 x 22 in. (88 x 50 x 56 cm.)

Executed on August 17, 1970.

123

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117. Josef Albers

1888-1976

Study to Homage to the Square Looking Out Estimate $200,000 - 300,000

124

signed with the artist’s monogram and dated “A 54” lower right; further signed, titled and dated “Study to Homage to the Square ‘Looking Out’, Albers 1954” on the reverse oil on Masonite 18 x 18 in. (45.7 x 45.7 cm.)

Painted in 1954, this painting will be included in the forthcoming catalogue raisonné of the work of Josef Albers currently being prepared by the Josef and Anni Albers Foundation and is registered under no. JAAF 1954.1.6.

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118. Tom Wesselmann

1931-2004

Cut-Out Nude Study

signed and dated “Wesselman 65� lower lef acrylic and paper collage on paper 17 1/8 x 21 in. (43.4 x 53.4 cm.)

Executed in 1965.

Estimate $100,000 - 150,000

125

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119. Sam Francis

1923-1994

Untitled Estimate $350,000 - 450,000

126

acrylic on canvas 84 x 120 in. (213.4 x 304.8 cm.)

Painted in 1988-1989.

O

120. Franz Kline

1910-1962

Untitled Estimate $40,000 - 60,000

signed “KLINE� lower lef ink on telephone book page mounted on paper 11 7/8 x 9 5/8 in. (30.2 x 24.4 cm.)

Executed circa 1950.

127

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121. Hans Hofmann

1880-1966

Pilgrim Heights View - Provincetown Estimate $60,000 - 80,0000

128

titled, numbered, inscribed and dated “Pilgrim Hights vue [sic] Provincetown 1936 104� on the reverse oil on board 25 x 30 in. (63.5 x 76.2 cm.)

Painted in 1936.

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122. Jim Dine

b. 1935

Window Brain Estimate $50,000 - 70,000

oil on wood, burlap and mixed media on card table and found wood rod table element 31 3/4 x 30 1/4 x 4 1/4 in.

(80.6 x 76.8 x 10.8 cm.) overall 57 1/ 2 x 30 1/4 x 4 1/4 in.

(146.1 x 76.8 x 10.8 cm.)

Executed in 1959.

129

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123. Willem de Kooning

1904-1997

Untitled Estimate $80,000 - 120,000

130

signed “de Kooning� lower center oil on newsprint mounted on canvas 29 x 22 3/4 in. (74.9 x 57.8 cm.)

Executed in 1976.

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124. Willem de Kooning

1904-1997

Untitled Estimate $150,000 - 200,000

signed “de Kooning� lower center charcoal and oil on paper mounted on matboard 42 x 32 7/8 in. (106.7 x 83.5 cm.)

Executed circa 1964-1966.

131

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125. Robert Rauschenberg

1925-2008

Untitled Estimate $200,000 - 300,000

132

signed with the artist’s initials “R.R.” lower right solvent transfer, gouache, graphite, tape and collage on paper 11 1/ 2 x 14 1/ 2 in. (29.2 x 36.8 cm.)

Executed in 1967.

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126. John Chamberlain

1927-2011

Tiny Piece #7 Estimate $150,000 - 200,000

painted tin 4 3/4 x 4 1/8 x 3 1/8 in. (12 x 10.5 x 8 cm.) base 11 5/8 x 3 5/8 x 3 1/ 2 in. (29.5 x 9.3 x 9 cm.) overall 16 3/8 x 7 3/4 x 3 1/ 2 in. (41.5 x 19.8 x 9 cm.)

Executed in 1961.

133

ABOVE :

This work is accompanied by the drawing Notebook Page: Views of the Punching Bag, circa 1971, 3x3in, acquired directly from the artist by the present owner.

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127. Claes Oldenburg

b. 1929

Punching Bag Estimate $200,000 - 300,000

134

signed with the artist’s initials, titled and dated “ punching bag CO 68” on the wood disc canvas stufed with kapok, mounted on wood bag 36 x 18 1/4 in. (91.4 x 46.4 cm.) disc diameter 20 in. (73.7 cm.) overall 50 1/ 2 x 20 x 19 in.

(128.3 x 50.8 x 48.3 cm.)

Executed in 1968.

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128. Richard Serra

b. 1938

Untitled

signed and dated “R. Serra 72� lower right charcoal on paper 29 5/8 x 41 1/ 2 in. (75.4 x 105.4 cm.)

Executed in 1972.

Estimate $80,000 - 120,000

135

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129. Louise Nevelson

1899-1988

Column IV Estimate $50,000 - 70,000

136

painted wood 57 1/8 x 14 5/8 x 9 1/4 in. (145 x 37 x 23.5 cm.)

Executed in 1983.

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130. Christo

b. 1935

Orange Store Front (Project) Part I Estimate $30,000 - 40,000

signed, titled and dated “ORANGE STORE FRONT (PROJECT) PART I from double STORE FRONT, Christo 64 - 65” at bottom charcoal, graphite, painted wood, Plexiglas and galvanized metal on panel 17 3/8 x 18 5/8 in. (44 x 47.5 cm.)

Executed in 1964-1965, this work is registered in Christo’s archives.

137

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131. Robert Graham

1938-2008

Source Figure Estimate $60,000 - 80,0000

138

bronze 106 x 24 x 24 in. (269.2 1 x 61 x 61 cm.)

Executed in 1990-1991, this work is from the intended edition of 9 works, of which only 6 were fabricated.

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132. Frank Stella

b. 1936

Misano

acrylic on wood, metal and Tycore 64 1/ 2 x 82 x 10 1/ 2 in.

(163.8 x 208.3 x 26.7 cm.)

Executed in 1981.

Estimate $250,000 - 350,000

139

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133. George Segal

1924-2000

Woman with Sunglasses on Bench Estimate $250,000 - 350,000

140

painted bronze on cast iron bench fgure 47 x 40 x 39 in.

(119.4 x 101.6 x 99.1 cm.) bench 31 3/4 x 71 7/8 x 22 in.

(80.6 x 182.7 x 55.9 cm.) overall 47 x 71 7/8 x 39 in.

(119.4 x 182.7 x 99.1 cm.)

Conceived in 1983, this work is from an edition of 5 plus 2 artist’s proofs.

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134. Jean Dubufet

1901-1985

Le verre d’eau Estimate $20,000 - 30,000

signed with the artist’s initials and dated “J.D. 1967” lower right marker on paper 23 1/4 x 11 3/4 in. (59.1 x 29.8 cm.)

Executed on January 17, 1967.

141

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135. Roberto Matta

1911-2002

Le responsable de l’optimisme Estimate $50,000 - 60,000

142

signed “Matta” lower lef; further signed, titled and inscribed “le responsable de l’optimisme 201 Matta” on the reverse oil on canvas 23 3/8 x 28 5/8 in. (59.4 x 72.8 cm.)

Painted in 1959.

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136. Frank Stella

b. 1936

Untitled (Concentric Square)

signed “F. Stella� lower right felt tip pen on graph paper 17 x 22 in. (43.3 x 55.9 cm.)

Executed circa 1960s.

Estimate $25,000 - 35,000

143

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137. Frank Stella

b. 1936

Conway Estimate $12,000 - 18,000

144

signed with the artist’s initials and dated “F.S. “66” lower right colored ink and pencil on graph paper 17 1/8 x 22 in. (43.4 x 56 cm.)

Executed in 1966.

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138. Alexander Calder

1898-1976

Meadow Grass Estimate $40,000 - 60,000

signed and dated “Calder 64� lower right gouache and ink on paper 29 1/ 2 x 42 1/ 2 in. (75 x 108 cm.)

Executed in 1964, this work is registered in the archives of the Calder Foundation, New York, under application number A08631.

145

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139. Alexander Calder

1898-1976

Las Vegas Estimate $40,000 - 60,000

146

signed and dated “Calder 74� lower right gouache and ink on paper 43 1/4 x 29 1/ 2 in. (109.9 x 74.9 cm.)

Executed in 1974, this work is registered in the archives of the Calder Foundation, New York, under application number A12713.

147

Property from the

EVENING SALE, HONG KONG

lots. 1/5

Fiterman Collection

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Fernando Botero

b. 1932

Niña incised with the artist’s signature and number ‘Botero, E.A. 2/2’ and stamped with the foundry mark on the top of the base bronze with dark brown patina 106.7 x 61 x 40.6 cm (42 x 24 x 15 7/8 in.)

Executed in 1981, this work is artist’s proof number 2 from an edition of 6 plus 2 artist’s proofs.

Estimate HKD$2,500,000 - 3,500,000

150

Provenance Marlborough Gallery, New York Acquired from the above by the present owner

Literature Jean-Clarence Lambert, Botero Sculptures, Bogotá, 1998, no. 58, n.p. (another example illustrated)

O

Alexander Calder

1898-1976

Higgledy Piggledy incised with the artist’s monogram and date ‘CA 69’ on the base sheet metal, wire and paint 43.2 x 76.2 x 76.2 cm. (17 x 30 x 30 in.)

Executed in 1969, this work is registered in the archives of the Calder Foundation, New York, under application number A10722.

Estimate HKD$4,800,000 - 6,800,000

152

Provenance Galerie Maeght, Paris Private Collection (acquired from the above in 1976) M. Knoedler & Co. Inc., New York Acquired from the above by the present owner in 1979

Exhibited Minneapolis, Walker Art Center, Calder’s Universe, 5 June - 14 August 1977

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Roy Lichtenstein

1923-1997

Head signed and dated ‘© rf Lichtenstein ‘86’ on the reverse oil and Magna on canvas 228.6 x 152.4 cm. (90 x 60 in.)

Executed in 1986.

Estimate HKD$20,000,000 - 30,000,000

154

Provenance The Mayor Gallery, London Acquired from the above by the present owner

Exhibited West Palm Beach, Norton Museum of Art, April 1997 (on extended loan)

O

Roy Lichtenstein

1923-1997

Brushstroke Sculpture incised with the artist’s signature, number and date ‘3/6 rf Lichtenstein ‘81’ and stamped with the Tallix foundry mark on the base painted bronze 80 x 33 x 16.5 cm. (31 1/ 2 x 13 x 6 1/ 2 in.)

Executed in 1981, this work is number 3 from an edition of 6.

Estimate HKD$2,500,000 - 3,500,000

156

Provenance

Literature

Thomas Segal Gallery, Boston Acquired from the above by the present owner

Diane Waldman, ed., Roy Lichtenstein, New York, 1993, p. 333 (another example illustrated)

Exhibited Madrid, Fundación Juan March, Roy Lichtenstein 1970-1980, 14 January – 20 March 1983 (another example exhibited) Mexico City, Instituto Nacional de Bellas Artes, Museo del Palacio de Bellas Artes; Museo de Arte Contemporáneo de Monterrey; Valencia, Instituto Valenciano de Arte Moderno; A Coruña, Fundación Pedro Barrié de la Maza; Lisbon, Centro Cultural de Belém, Roy Lichtenstein: Imágenes reconocibles: Escultura, pintura y gráfca / Roy Lichtenstein: Imagens Reconhecíveis, 9 July 1998 - 15 August 2000, n.p. (another example exhibited and illustrated on the front cover); then traveled as Washington D.C., The Corcoran Gallery of Art, Roy Lichtenstein: Sculpture & Drawings, 5 June - 30 September, 1999, 5 no. 88, p. 139 (another example illustrated and on the front cover)

O

Andy Warhol

1928-1987

Flowers signed, dedicated and dated ‘Andy Warhol 64 To Mr. and Mrs. Fiterman ♡’ on the overlap silkscreen ink on linen 35.6 x 35.6 cm. (14 x 14 in.)

Executed in 1964.

Provenance Leo Castelli Gallery, New York Locksley Shea Gallery, Minneapolis Acquired from the above by the present owner

Exhibited Philadelphia, Institute of Contemporary Art, Andy Warhol, 8 October - 21 November, 1965

Literature Estimate HKD$6,500,000 - 8,500,000

158

Georg Frei and Neil Printz, eds., The Andy Warhol Catalogue Raisonné: Paintings and Sculptures 1964-1969, vol. 2B, New York, 2004, no. 1558, p. 77 (illustrated, p. 73; dated 1965)

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It is advisable to contact us closer to the time of the auction as estimates can be subject to revision. Pre-sale estimates do not include the buyer’s premium or any applicable taxes.

Electrical and Mechanical Lots All lots with electrical and/or mechanical features are sold on the basis of their decorative value only and should not be assumed to be operative. It is essential that, prior to any intended use, the electrical system is verifed and approved by a qualifed electrician.

∑ Regulated Species Lots with this symbol have been identifed at the time of cataloguing as containing endangered or other protected species of wildlife which may be subject to restrictions regarding export or import and which may require permits for export as well as import. Please refer to Paragraph 4 of the Guide for Prospective Buyers and Paragraph 11 of the Conditions of Sale.

Symbol Key The following key explains the symbols you may see inside this catalogue.

2 Bidding in the Sale

Buying at Auction The following pages are designed to ofer you information on how to buy at auction at Phillips. Our staf will be happy to assist you.

Conditions of Sale The Conditions of Sale and Authorship Warranty which appear later in this catalogue govern the auction. Bidders are strongly encouraged to read them as they outline the legal relationship among Phillips, the seller and the buyer and describe the terms upon which property is bought at auction. Please be advised that Phillips generally acts as agent for the seller.

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 $400,000, 20% of the portion of the hammer price above $400,000 up to and including $4,000,000 and 13.5% of the portion of the hammer price above $4,000,000.

Pre-Sale Estimates in Pounds Sterling and Euros Although the sale is conducted in US dollars, the pre-sale estimates in the auction catalogues may also be printed in pounds sterling and/or euros. Since the exchange rate is that at the time of catalogue production and not at the date of auction, you should treat estimates in pounds sterling or euros as a guide only.

Catalogue Entries Phillips may print in the catalogue entry the history of ownership of a work of art, as well as the exhibition history of the property and references to the work in art publications. While we are careful in the cataloguing process, provenance, exhibition and literature references may not be exhaustive and in some cases we may intentionally refrain from disclosing the identity of previous owners. Please note that all dimensions of the property set forth in the catalogue entry are approximate.

O Guaranteed Property Lots designated with the symbol [O] are the subject of a minimum price guarantee. In such cases Phillips has guaranteed to the seller of the lot that regardless of the outcome of the sale the seller shall receive no less than a minimum sum. This guarantee may be provided solely by Phillips or jointly with a third party. ♦ Third Party Guarantee Where Phillips has agreed to a minimum price guarantee it assumes the fnancial risk of a lot failing to sell or selling for less than the minimum price guarantee. Because the sums involved can be signifcant Phillips may choose to share the burden of that fnancial risk with a third party. The third party shares the risk by committing in advance of the sale, usually by way of a written bid, to buy the lot for an agreed amount whether or not there are competing bidders for the lot. If there are competing bidders third party guarantors may also bid above any written bid. In this way the third party guarantor assumes the risk of the bidding not reaching the amount of the minimum price guarantee.

In return for underwriting or sharing this risk Phillips will usually compensate the third party. The compensation may be in the form of a fxed fee or an amount calculated by reference to the hammer price of the lot. If the third party guarantor is the successful bidder they will be required to pay the full hammer price and buyer’s premium and will not be otherwise compensated.

Disclosure of fnancial interest by third parties Phillips requires third party guarantors to disclose their fnancial interest in the lot to anyone whom they are advising. If you are contemplating bidding on a lot which is the subject of a third party guarantee and you are being advised by someone or if you have asked someone to bid on your behalf you should always ask them to confrm whether or not they have a fnancial interest in the 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.

No Reserve •Unless indicated by a •, all lots in this catalogue are ofered subject to a reserve. A reserve is the confdential value established between Phillips and the seller and below which a lot may not be sold. The reserve for each lot is generally set at a percentage of the low estimate and will not exceed the low pre-sale estimate.

Bidding at Auction Bids may be executed during the auction in person by paddle, by telephone, online or prior to the sale in writing by absentee bid. Proof of identity in the form of government issued identifcation will be required, as will an original signature. We may also require that you furnish us with a bank reference.

Bidding in Person To bid in person, you will need to register for and collect a paddle before the auction begins. New clients are encouraged to register at least 48 hours in advance of a sale to allow sufcient time for us to process your information.

All lots sold will be invoiced to the name and address to which the paddle has been registered and invoices cannot be transferred to other names and addresses. Please do not misplace your paddle. In the event you lose it, inform a Phillips staf member immediately. At the end of the auction, please return your paddle to the registration desk.

Bidding by Telephone If you cannot attend the auction, you may bid live on the telephone with one of our multi-lingual staf members.

This service must be arranged at least 24 hours in advance of the sale and is available for lots whose low pre-sale estimate is at least $1,000. Telephone bids may be recorded. By bidding on the telephone, you consent to the recording of your conversation. We suggest that you leave a maximum bid, excluding the buyer’s premium and any applicable taxes, which we can execute on your behalf in the event we are unable to reach you by telephone.

$5,000 to $10,000 $10,000 to $20,000 $20,000 to $30,000 $30,000 to $50,000 $50,000 to $100,000 $100,000 to $200,000 above $200,000

by $500s by $1,000s by $2,000s by $2,000s, 5,000, 8,000 by $5,000s by $10,000s auctioneer’s discretion

The auctioneer may vary the increments during the course of the auction at his or her own discretion.

Online Bidding If you cannot attend the auction in person, you may bid online on our online live bidding platform available on our website at www.phillips.com. The digital saleroom is optimized to run on Google Chrome, Firefox, Opera and Internet Explorer browsers. Clients who wish to run the platform on Safari will need to install Adobe FlashPlayer.

Follow the links to ‘Auctions’ and ‘Digital Saleroom’ and then pre-register by clicking on ‘Register to Bid Live.’ The frst time you register you will be required to create an account; thereafer you will only need to register for each sale. You must pre-register at least 24 hours before the start of the auction in order to be approved by our bid department. Please note that corporate frewalls may cause difculties for online bidders.

3 The Auction

Absentee Bids If you are unable to attend the auction and cannot participate by telephone, Phillips will be happy to execute written bids on your behalf. A bidding form can be found at the back of this catalogue. This service is free and confdential. Bids must be placed in the currency of the sale. Our staf will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Always indicate a maximum bid, excluding the buyer’s premium and any applicable taxes.

Unlimited bids will not be accepted. Any absentee bid must be received at least 24 hours in advance of the sale.

In the event of identical bids, the earliest bid received will take precedence.

Consecutive and Responsive Bidding; No Reserve Lots The auctioneer may open the bidding on any lot by placing a bid on behalf of the seller. The auctioneer may further bid on behalf of the seller up to the amount of the reserve by placing consecutive bids or bids in response to other bidders. If a lot is ofered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate.

If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold.

Employee Bidding Employees of Phillips and our afliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

Bidding Increments Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding increment. $50 to $1,000 $1,000 to $2,000 $2,000 to $3,000 $3,000 to $5,000 (i.e., $4,200, 4,500, 4,800)

by $50s by $100s by $200s by $200s, 500, 800

Conditions of Sale As noted above, the auction is governed by the Conditions of Sale and Authorship Warranty. All prospective bidders should read them carefully. They may be amended by saleroom addendum or auctioneer’s announcement.

Interested Parties Announcement In situations where a person allowed to bid on a lot has a direct or indirect interest in such lot, such as the benefciary or executor of an estate selling the lot, a joint owner of the lot or a party providing or participating in a guarantee on the lot, Phillips will make an announcement in the saleroom that interested parties may bid on the lot.

4 Afer the Auction

Collection It is our policy to request proof of identity on collection of a lot. A lot will be released to the buyer or the buyer’s authorized representative when Phillips has received full and cleared payment and we are not owed any other amount by the buyer. Promptly afer the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, we will upon request transfer purchased lots suitable for hand carry back to our premises at 450 Park Avenue, New York, New York for collection within 30 days following the date of the auction. We will levy removal, interest, storage and handling charges on uncollected lots.

Loss or Damage Buyers are reminded that Phillips accepts liability for loss or damage to lots for a maximum of seven days following the auction.

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.

Export and Import Licenses Before bidding for any property, prospective bidders are advised to make independent inquiries as to whether a license is required to export the property from the United States or to import it into another country. It is the buyer’s sole responsibility to comply with all import and export laws and to obtain any necessary licenses or permits.

The denial of any required license or permit or any delay in obtaining such documentation will not justify the cancellation of the sale or any delay in making full payment for the lot.

Regulated Species Items made of or incorporating plant or animal material,

Payment Buyers are required to pay for purchases immediately following the auction unless other arrangements are agreed with Phillips in writing in advance of the sale.

Payment must be made in US dollars either by cash, check drawn on a US bank or wire transfer, as noted in Paragraph 6 of the Conditions of Sale. It is our corporate policy not to make or accept single or multiple payments in cash or cash equivalents in excess of US$2,000 in any calendar year.

such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value, may require a license or certifcate prior to exportation and additional licenses or certifcates upon importation to any foreign country.

Please note that the ability to obtain an export license or certifcate does not ensure the ability to obtain an import license or certifcate in another country, and vice versa.

We suggest that prospective bidders check with their

Credit Cards As a courtesy to clients, Phillips will accept American Express, Visa and Mastercard to pay for invoices of $50,000 or less.

own government regarding wildlife import requirements prior to placing a bid. It is the buyer’s sole responsibility to obtain any necessary export or import licenses or certifcates 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.

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.

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.

Conditions of Sale The Conditions of Sale and Authorship Warranty set forth below govern the relationship between bidders and buyers, on the one hand, and Phillips and sellers, on the other hand. All prospective buyers should read these Conditions of Sale and Authorship Warranty carefully before bidding.

1 Introduction Each lot in this catalogue is ofered for sale and sold subject to: (a) the Conditions of Sale and Authorship Warranty; (b) additional notices and terms printed in other places in this catalogue, including the Guide for Prospective Buyers, and (c) supplements to this catalogue or other written material posted by Phillips in the saleroom, in each case as amended by any addendum or announcement by the auctioneer prior to the auction.

By bidding at the auction, whether in person, through an agent, by written bid, by telephone bid or other means, bidders and buyers agree to be bound by these Conditions of Sale, as so changed or supplemented, and Authorship Warranty.

These Conditions of Sale, as so changed or supplemented, and Authorship Warranty contain all the terms on which Phillips and the seller contract with the buyer.

2 Phillips as Agent Phillips acts as an agent for the seller, unless otherwise indicated in this catalogue or at the time of auction. On occasion, Phillips may own a lot directly, in which case we will act in a principal capacity as a consignor, or a company afliated with Phillips may own a lot, in which case we will act as agent for that company, or Phillips or an afliated company may have a legal, benefcial or fnancial interest in a lot as a secured creditor or otherwise.

3 Catalogue Descriptions and Condition of Property Lots are sold subject to the Authorship Warranty, as described in the catalogue (unless such description is changed or supplemented, as provided in Paragraph 1 above) and in the condition that they are in at the time of the sale on the following basis. (a) The knowledge of Phillips in relation to each lot is partially dependent on information provided to us by the seller, and Phillips is not able to and does not carry out exhaustive due diligence on each lot. Prospective buyers acknowledge this fact and accept responsibility for carrying out inspections and investigations to satisfy themselves as to the lots in which they may be interested.

Notwithstanding the foregoing, we shall exercise such reasonable care when making express statements in catalogue descriptions or condition reports as is consistent with our role as auctioneer of lots in this sale and in light of (i) the information provided to us by the seller, (ii) scholarship and technical knowledge and (iii) the generally accepted opinions of relevant experts, in each case at the time any such express statement is made. (b) Each lot ofered for sale at Phillips is available for inspection by prospective buyers prior to the auction.

Phillips accepts bids on lots on the basis that bidders

(and independent experts on their behalf, to the extent appropriate given the nature and value of the lot and the bidder’s own expertise) have fully inspected the lot prior to bidding and have satisfed themselves as to both the condition of the lot and the accuracy of its description. (c) Prospective buyers acknowledge that many lots are of an age and type which means that they are not in perfect condition. As a courtesy to clients, Phillips may prepare and provide condition reports to assist prospective buyers when they are inspecting lots. Catalogue descriptions and condition reports may make reference to particular imperfections of a lot, but bidders should note that lots may have other faults not expressly referred to in the catalogue or condition report. All dimensions are approximate. Illustrations are for identifcation purposes only and cannot be used as precise indications of size or to convey full information as to the actual condition of lots. (d) Information provided to prospective buyers in respect of any lot, including any pre-sale estimate, whether written or oral, and information in any catalogue, condition or other report, commentary or valuation, is not a representation of fact but rather a statement of opinion held by Phillips. Any pre-sale estimate may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time by Phillips in our absolute discretion. Neither Phillips nor any of our afliated companies shall be liable for any diference between the pre-sale estimates for any lot and the actual price achieved at auction or upon resale.

4 Bidding at Auction (a) Phillips has absolute discretion to refuse admission to the auction or participation in the sale. All bidders must register for a paddle prior to bidding, supplying such information and references as required by Phillips. (b) As a convenience to bidders who cannot attend the auction in person, Phillips may, if so instructed by the bidder, execute written absentee bids on a bidder’s behalf. Absentee bidders are required to submit bids on the Absentee Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Bids must be placed in the currency of the sale. The bidder must clearly indicate the maximum amount he or she intends to bid, excluding the buyer’s premium and any applicable sales or use taxes. The auctioneer will not accept an instruction to execute an absentee bid which does not indicate such maximum bid. Our staf will attempt to execute an absentee bid at the lowest possible price taking into account the reserve and other bidders. Any absentee bid must be received at least 24 hours in advance of the sale. In the event of identical bids, the earliest bid received will take precedence. (c) Telephone bidders are required to submit bids on the Telephone Bid Form, a copy of which is printed in this catalogue or otherwise available from Phillips. Telephone bidding is available for lots whose low pre-sale estimate is at least $1,000. Phillips reserves the right to require written confrmation of a successful bid from a telephone bidder by fax or otherwise immediately afer such bid

is accepted by the auctioneer. Telephone bids may be recorded and, by bidding on the telephone, a bidder consents to the recording of the conversation. (d) Bidders may participate in an auction by bidding online through Phillips’s online live bidding platform available on our website at www.phillips.com. To bid online, bidders must register online at least 24 hours before the start of the auction. Online bidding is subject to approval by Phillips’s bid department in our sole discretion. As noted in Paragraph 3 above, Phillips encourages online bidders to inspect prior to the auction any lot(s) on which they may bid, and condition reports are available upon request.

Bidding in a live auction can progress quickly. To ensure that online bidders are not placed at a disadvantage when bidding against bidders in the room or on the telephone, the procedure for placing bids through Phillips’s online bidding platform is a one-step process. By clicking the bid button on the computer screen, a bidder submits a bid. Online bidders acknowledge and agree that bids so submitted are fnal and may not under any circumstances be amended or retracted. During a live auction, when bids other than online bids are placed, they will be displayed on the online bidder’s computer screen as ‘foor’ bids.

‘Floor’ bids include bids made by the auctioneer to protect the reserve. In the event that an online bid and a ‘foor’ or ‘phone’ bid are identical, the ‘foor’ bid may take precedence at the auctioneer’s discretion. The next bidding increment is shown for the convenience of online bidders in the bid button. The bidding increment available to online bidders may vary from the next bid actually taken by the auctioneer, as the auctioneer may deviate from Phillips’s standard increments at any time at his or her discretion, but an online bidder may only place a bid in a whole bidding increment. Phillips’s bidding increments are published in the Guide for Prospective Buyers. (e) When making a bid, whether in person, by absentee bid, on the telephone or online, a bidder accepts personal liability to pay the purchase price, as described more fully in Paragraph 6 (a) below, plus all other applicable charges unless it has been explicitly agreed in writing with Phillips before the commencement of the auction that the bidder is acting as agent on behalf of an identifed third party acceptable to Phillips and that we will only look to the principal for such payment. (f) By participating in the auction, whether in person, by absentee bid, on the telephone or online, each prospective buyer represents and warrants that any bids placed by such person, or on such person’s behalf, are not the product of any collusive or other anti-competitive agreement and are otherwise consistent with federal and state antitrust law. (g) Arranging absentee, telephone and online bids is a free service provided by Phillips to prospective buyers.

While we undertake to exercise reasonable care in undertaking such activity, we cannot accept liability for failure to execute such bids except where such failure is caused by our willful misconduct.

(h) Employees of Phillips and our afliated companies, including the auctioneer, may bid at the auction by placing absentee bids so long as they do not know the reserve when submitting their absentee bids and otherwise comply with our employee bidding procedures.

5 Conduct of the Auction (a) Unless otherwise indicated by the symbol •, each lot is ofered subject to a reserve, which is the confdential minimum selling price agreed by Phillips with the seller. The reserve will not exceed the low pre-sale estimate at the time of the auction. (b) The auctioneer has discretion at any time to refuse any bid, withdraw any lot, re-ofer a lot for sale (including afer the fall of the hammer) if he or she believes there may be error or dispute and take such other action as he or she deems reasonably appropriate. Phillips shall have no liability whatsoever for any such action taken by the auctioneer. If any dispute arises afer the sale, our sale record is conclusive. The auctioneer may accept bids made by a company afliated with Phillips provided that the bidder does not know the reserve placed on the lot. (c) The auctioneer will commence and advance the bidding at levels and in increments he or she considers appropriate. In order to protect the reserve on any lot, the auctioneer may place one or more bids on behalf of the seller up to the reserve without indicating he or she is doing so, either by placing consecutive bids or bids in response to other bidders. If a lot is ofered without reserve, unless there are already competing absentee bids, the auctioneer will generally open the bidding at 50% of the lot’s low pre-sale estimate. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized and will then advance the bidding from that amount. Absentee bids on no reserve lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. If there is no bid whatsoever on a no reserve lot, the auctioneer may deem such lot unsold. (d) The sale will be conducted in US dollars and payment is due in US dollars. For the beneft of international clients, pre-sale estimates in the auction catalogue may be shown in pounds sterling and/or euros and, if so, will refect approximate exchange rates. Accordingly, estimates in pounds sterling or euros should be treated only as a guide. If a currency converter is operated during the sale, it is done so as a courtesy to bidders, but Phillips accepts no responsibility for any errors in currency conversion calculation. (e) Subject to the auctioneer’s reasonable discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of the hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot passes to the buyer as set forth in Paragraph 7 below.

(f) If a lot is not sold, the auctioneer will announce that it has been “passed,” “withdrawn,” “returned to owner” or “bought-in.”

(d) As a courtesy to clients, Phillips will accept American Express, Visa and Mastercard to pay for invoices of $50,000 or less.

(g) Any post-auction sale of lots ofered at auction shall incorporate these Conditions of Sale and Authorship Warranty as if sold in the auction.

(e) Title in a purchased lot will not pass until Phillips has received the Purchase Price for that lot in cleared funds.

Phillips is not obliged to release a lot to the buyer until title in the lot has passed and appropriate identifcation has been provided, and any earlier release does not afect the passing of title or the buyer’s unconditional obligation to pay the Purchase Price.

6 Purchase Price and Payment (a) The buyer agrees to pay us, in addition to the hammer price of the lot, the buyer’s premium and any applicable sales tax (the “Purchase Price”). The buyer’s premium is 25% of the hammer price up to and including $400,000, 20% of the portion of the hammer price above $400,000 up to and including $4,000,000 and 13.5% of the portion of the hammer price above $4,000,000. Phillips reserves the right to pay from our compensation an introductory commission to one or more third parties for assisting in the sale of property ofered and sold at auction.

(b) Sales tax, use tax and excise and other taxes are payable in accordance with applicable law. All prices, fees, charges and expenses set out in these Conditions of Sale are quoted exclusive of applicable taxes. Phillips will only accept valid resale certifcates from US dealers as proof of exemption from sales tax. All foreign buyers should contact the Client Accounting Department about tax matters. (c) Unless otherwise agreed, a buyer is required to pay for a purchased lot immediately following the auction regardless of any intention to obtain an export or import license or other permit for such lot. Payments must be made by the invoiced party in US dollars either by cash, check drawn on a US bank or wire transfer, as follows: (i) Phillips will accept payment in cash provided that the total amount paid in cash or cash equivalents does not exceed US$2,000. Buyers paying in cash should do so in person at our Client Accounting Desk at 450 Park Avenue during regular weekday business hours. (ii) Personal checks and banker’s drafs are accepted if drawn on a US bank and the buyer provides to us acceptable government issued identifcation. Checks and banker’s drafs should be made payable to “Phillips.”

If payment is sent by mail, please send the check or banker’s draf to the attention of the Client Accounting Department at 450 Park Avenue, New York, NY 10022 and make sure that the sale and lot number is written on the check. Checks or banker’s drafs drawn by third parties will not be accepted. (iii) Payment by wire transfer may be sent directly to Phillips. Bank transfer details: Signature Bank 485 Madison Avenue, New York, NY 10022 SWIFT code: SIGNUS33 ABA routing no.: 026013576 For account of: Phillips Auctioneers LLC Account no.: 1502977462 Please reference the relevant sale and lot number.

7 Collection of Property (a) Phillips will not release a lot to the buyer until we have received payment of its Purchase Price in full in cleared funds, the buyer has paid all outstanding amounts due to Phillips or any of our afliated companies, including any charges payable pursuant to Paragraph 8 (a) below, and the buyer has satisfed such other terms as we in our sole discretion shall require, including completing any antimoney laundering or anti-terrorism fnancing checks. As soon as a buyer has satisfed all of the foregoing conditions, he or she should contact our Shipping Department at +1 212 940 1372 or +1 212 940 1373 to arrange for collection of purchased property. (b) The buyer must arrange for collection of a purchased lot within seven days of the date of the auction. Promptly afer the auction, we will transfer all lots to our warehouse located at 29-09 37th Avenue in Long Island City, Queens, New York. All purchased lots should be collected at this location during our regular weekday business hours. As a courtesy to clients, Phillips will upon request transfer on a bi-weekly basis purchased lots suitable for hand-carry back to our premises at 450 Park Avenue, New York, New York for collection within 30 days following the date of the auction. Purchased lots are at the buyer’s risk, including the responsibility for insurance, from the earlier to occur of (i) the date of collection or (ii) seven days afer the auction.

Until risk passes, Phillips will compensate the buyer for any loss or damage to a purchased lot up to a maximum of the Purchase Price paid, subject to our usual exclusions for loss or damage to property. (c) As a courtesy to clients, Phillips will, without charge, wrap purchased lots for hand-carry only. We will, at the buyer’s expense, either provide packing, handling, insurance and shipping services or coordinate with shipping agents instructed by the buyer in order to facilitate such services for property bought at Phillips. Any such instruction, whether or not made at our recommendation, is entirely at the buyer’s risk and responsibility, and we will not be liable for acts or omissions of third party packers or shippers. Third party shippers should contact us by telephone at +1 212 940 1376 or by fax at +1 212 924 6477 at least 24 hours in advance of collection in order to schedule pickup. (d) Phillips will require presentation of government issued identifcation prior to release of a lot to the buyer or the buyer’s authorized representative.

8 Failure to Collect Purchases (a) If the buyer pays the Purchase Price but fails to collect

a purchased lot within 30 days of the auction, the buyer will incur a late collection fee of $10 per day for each uncollected lot. Additional charges may apply to oversized lots. We will not release purchased lots to the buyer until all such charges have been paid in full. (b) If a purchased lot is paid for but not collected within six months of the auction, the buyer authorizes Phillips, upon notice, to arrange a resale of the item by auction or private sale, with estimates and a reserve set at Phillips’s reasonable discretion. The proceeds of such sale will be applied to pay for storage charges and any other outstanding costs and expenses owed by the buyer to Phillips or our afliated companies and the remainder will be forfeited unless collected by the buyer within two years of the original auction.

9 Remedies for Non-Payment (a) Without prejudice to any rights the seller may have, if the buyer without prior agreement fails to make payment of the Purchase Price for a lot in cleared funds within seven days of the auction, Phillips may in our sole discretion exercise one or more of the following remedies: (i) store the lot at Phillips’s premises or elsewhere at the buyer’s sole risk and expense at the same rates as set forth in Paragraph 8 (a) above; (ii) cancel the sale of the lot, retaining any partial payment of the Purchase Price as liquidated damages; (iii) reject future bids from the buyer or render such bids subject to payment of a deposit; (iv) charge interest at 12% per annum from the date payment became due until the date the Purchase Price is received in cleared funds; (v) subject to notifcation of the buyer, exercise a lien over any of the buyer’s property which is in the possession of Phillips and instruct our afliated companies to exercise a lien over any of the buyer’s property which is in their possession and, in each case, no earlier than 30 days from the date of such notice, arrange the sale of such property and apply the proceeds to the amount owed to Phillips or any of our afliated companies afer the deduction from sale proceeds of our standard vendor’s commission and all sale-related expenses; (vi) resell the lot by auction or private sale, with estimates and a reserve set at Phillips reasonable discretion, it being understood that in the event such resale is for less than the original hammer price and buyer’s premium for that lot, the buyer will remain liable for the shortfall together with all costs incurred in such resale; (vii) commence legal proceedings to recover the hammer price and buyer’s premium for that lot, together with interest and the costs of such proceedings; (viii) set of the outstanding amount remaining unpaid by the buyer against any amounts which we or any of our afliated companies may owe the buyer in any other transactions; (ix) release the name and address of the buyer to the seller to enable the seller to commence legal proceedings to recover the amounts due and legal costs or (x) take such other action as we deem necessary or appropriate. (b) As security to us for full payment by the buyer of all outstanding amounts due to Phillips and our afliated companies, Phillips retains, and the buyer grants to us, a security interest in each lot purchased at auction by the buyer and in any other property or money of the buyer in,

or coming into, our possession or the possession of one of our afliated companies. We may apply such money or deal with such property as the Uniform Commercial Code or other applicable law permits a secured creditor to do. In the event that we exercise a lien over property in our possession because the buyer is in default to one of our afliated companies, we will so notify the buyer. Our security interest in any individual lot will terminate upon actual delivery of the lot to the buyer or the buyer’s agent. (c) In the event the buyer is in default of payment to any of our afliated companies, the buyer also irrevocably authorizes Phillips to pledge the buyer’s property in our possession by actual or constructive delivery to our afliated company as security for the payment of any outstanding amount due. Phillips will notify the buyer if the buyer’s property has been delivered to an afliated company by way of pledge.

10 Rescission by Phillips Phillips shall have the right, but not the obligation, to rescind a sale without notice to the buyer if we reasonably believe that there is a material breach of the seller’s representations and warranties or the Authorship Warranty or an adverse claim is made by a third party.

Upon notice of Phillips’s election to rescind the sale, the buyer will promptly return the lot to Phillips, and we will then refund the Purchase Price paid to us. As described more fully in Paragraph 13 below, the refund shall constitute the sole remedy and recourse of the buyer against Phillips and the seller with respect to such rescinded sale.

11 Export, Import and Endangered Species Licenses and Permits Before bidding for any property, prospective buyers are advised to make their own inquiries as to whether a license is required to export a lot from the US or to import it into another country. Prospective buyers are advised that some countries prohibit the import of property made of or incorporating plant or animal material, such as coral, crocodile, ivory, whalebone, Brazilian rosewood, rhinoceros horn or tortoiseshell, irrespective of age, percentage or value. Accordingly, prior to bidding, prospective buyers considering export of purchased lots should familiarize themselves with relevant export and import regulations of the countries concerned. It is solely the buyer’s responsibility to comply with these laws and to obtain any necessary export, import and endangered species licenses or permits. Failure to obtain a license or permit or delay in so doing will not justify the cancellation of the sale or any delay in making full payment for the lot. As a courtesy to clients, Phillips has marked in the catalogue lots containing potentially regulated plant or animal material, but we do not accept liability for errors or for failing to mark lots containing protected or regulated species.

12 Privacy (a) You acknowledge and understand that we may process your personal data (including potentially special category data) in accordance with our privacy policy from time to time as published at www.phillips.com or available by emailing dataprotection@phillips.com.

(b) Our privacy policy sets out: (i) the types of personal data we will or may collect and process; (ii) the purposes for which we will or may process your personal data (including for example the provision of auction, private sale and related services; the performance and enforcement of these terms and conditions; the carrying out of identity and credit checks; keeping you informed about upcoming auctions, exhibitions and special events; and generally where reasonably necessary in the management and operation of our business); (iii) the lawful bases on which we rely in undertaking our processing of your personal data; (iv) your rights in respect of our processing of your personal data; and (v) various other information as required by applicable laws. (c) Phillips premises and sale and exhibition venues are subject to CCTV video surveillance and recording for security, client service and bid monitoring purposes and will be flmed during the auction for simultaneous live broadcast on our and third party websites and applications. By remaining in these areas, you acknowledge that you may be photographed, flmed and recorded and grant your permission for your likeness and voice to be included in such recordings. If you do not wish to be photographed or flmed or appear in such recordings, please speak to a member of Phillips staf.

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

13 Limitation of Liability (a) Subject to subparagraph (e) below, the total liability of Phillips, our afliated companies and the seller to the buyer in connection with the sale of a lot shall be limited to the Purchase Price actually paid by the buyer for the lot. (b) Except as otherwise provided in this Paragraph 13, none of Phillips, any of our afliated companies or the seller (i) is liable for any errors or omissions, whether orally or in writing, in information provided to prospective buyers by Phillips or any of our afliated companies or (ii) accepts responsibility to any bidder in respect of acts or omissions, whether negligent or otherwise, by Phillips or any of our afliated companies in connection with the conduct of the auction or for any other matter relating to the sale of any lot. (c) All warranties other than the Authorship Warranty, express or implied, including any warranty of satisfactory quality and ftness for purpose, are specifcally excluded

by Phillips, our afliated companies and the seller to the fullest extent permitted by law. (d) Subject to subparagraph (e) below, none of Phillips, any of our afliated companies or the seller shall be liable to the buyer for any loss or damage beyond the refund of the Purchase Price referred to in subparagraph (a) above, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the

payment of interest on the Purchase Price to the fullest extent permitted by law. (e) No provision in these Conditions of Sale shall be deemed to exclude or limit the liability of Phillips or any of our afliated companies to the buyer in respect of any fraud or fraudulent misrepresentation made by any of us or in respect of death or personal injury caused by our negligent acts or omissions.

14 Copyright The copyright in all images, illustrations and written materials produced by or for Phillips relating to a lot, including the contents of this catalogue, is and shall remain at all times the property of Phillips and such images and materials may not be used by the buyer or any other party without our prior written consent. Phillips and the seller make no representations or warranties that the buyer of a lot will acquire any copyright or other reproduction rights in it.

15 General (a) These Conditions of Sale, as changed or supplemented as provided in Paragraph 1 above, and Authorship Warranty set out the entire agreement between the parties with respect to the transactions contemplated herein and supersede all prior and contemporaneous written, oral or implied understandings, representations and agreements. (b) Notices to Phillips shall be in writing and addressed to the department in charge of the sale, quoting the reference number specifed at the beginning of the sale catalogue. Notices to clients shall be addressed to the last address notifed by them in writing to Phillips. (c) These Conditions of Sale are not assignable by any buyer without our prior written consent but are binding on the buyer’s successors, assigns and representatives. (d) Should any provision of these Conditions of Sale be held void, invalid or unenforceable for any reason, the remaining provisions shall remain in full force and efect.

No failure by any party to exercise, nor any delay in exercising, any right or remedy under these Conditions of Sale shall act as a waiver or release thereof in whole or in part.

16 Law and Jurisdiction (a) The rights and obligations of the parties with respect to these Conditions of Sale and Authorship Warranty, the conduct of the auction and any matters related to any of the foregoing shall be governed by and interpreted in accordance with laws of the State of New York, excluding its conficts of law rules. (b) Phillips, all bidders and all sellers agree to the exclusive jurisdiction of the (i) state courts of the State of New York located in New York City and (ii) the federal courts for the Southern and Eastern Districts of New York to settle all disputes arising in connection with all aspects of all matters or transactions to which these Conditions of Sale and Authorship Warranty relate or apply.

(c) All bidders and sellers irrevocably consent to service of process or any other documents in connection with proceedings in any court by facsimile transmission, personal service, delivery by mail or in any other manner permitted by New York law or the law of the place of service, at the last address of the bidder or seller known to Phillips.

17 Sales Tax (a) Unless the buyer has delivered a valid certifcate evidencing exemption from tax, the buyer shall pay applicable sales tax on any lot picked up or delivered anywhere in the United States. (b) If the point of delivery or transfer of possession for any purchased lot to the buyer or the buyer’s designee (including any private carrier) occurs in New York, then the sale is subject to New York sales tax at the existing rate of 8.875%. (c) If the buyer arranges shipping for any purchased lot in New York by a common carrier (such as the United States Postal Service, United Parcel Service, or FedEx) that does not operate under a private agreement or contract with negotiated terms to be delivered to an out of state destination, then the sale is not subject to New York sales tax.

Authorship Warranty Phillips warrants the authorship of property in this auction catalogue described in headings in bold or CAPITALIZED type for a period of fve years from date of sale by Phillips, subject to the exclusions and limitations set forth below. (a) Phillips gives this Authorship Warranty only to the original buyer of record (i.e., the registered successful bidder) of any lot. This Authorship Warranty does not extend to (i) subsequent owners of the property, including purchasers or recipients by way of gif from the original buyer, heirs, successors, benefciaries and assigns; (ii) property where the description in the catalogue states that there is a confict of opinion on the authorship of the property; (iii) property where our attribution of authorship was on the date of sale consistent with the generally accepted opinions of specialists, scholars or other experts; (iv) property whose description or dating is proved inaccurate by means of scientifc methods or tests not generally accepted for use at the time of the publication of the catalogue or which were at such time deemed unreasonably expensive or impractical to use or likely in our reasonable opinion to have caused damage or loss in value to the lot or (v) property where there has been no material loss in value from the value of the lot had it been as described in the heading of the catalogue entry. (b) In any claim for breach of the Authorship Warranty, Phillips reserves the right, as a condition to rescinding any sale under this warranty, to require the buyer to provide to us at the buyer’s expense the written opinions of two recognized experts approved in advance by Phillips. We

shall not be bound by any expert report produced by the buyer and reserve the right to consult our own experts at our expense. If Phillips agrees to rescind a sale under the Authorship Warranty, we shall refund to the buyer the reasonable costs charged by the experts commissioned by the buyer and approved in advance by us. (c) Subject to the exclusions set forth in subparagraph (a) above, the buyer may bring a claim for breach of the Authorship Warranty provided that (i) he or she has notifed Phillips in writing within three months of receiving any information which causes the buyer to question the authorship of the lot, specifying the auction in which the property was included, the lot number in the auction catalogue and the reasons why the authorship of the lot is being questioned and (ii) the buyer returns the lot to Phillips to the saleroom in which it was purchased in the same condition as at the time of its auction and is able to transfer good and marketable title in the lot free from any third party claim arising afer the date of the auction. Phillips has discretion to waive any of the foregoing requirements set forth in this subparagraph (c) or subparagraph (b) above. (d) The buyer understands and agrees that the exclusive remedy for any breach of the Authorship Warranty shall be rescission of the sale and refund of the original Purchase Price paid. This remedy shall constitute the sole remedy and recourse of the buyer against Phillips, any of our afliated companies and the seller and is in lieu of any other remedy available as a matter of law or equity. This means that none of Phillips, any of our afliated companies or the seller shall be liable for loss or damage beyond the remedy expressly provided in this Authorship Warranty, whether such loss or damage is characterized as direct, indirect, special, incidental or consequential, or for the payment of interest on the original Purchase Price.

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

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• 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 $400,000, 20% of the portion of the hammer price above $400,000 up to and including $4,000,000 and 13.5% 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.

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• 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.

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

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

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 $2,000), 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.

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Sale Information

Image credits

Sale begins at 5pm

Viewing Location 432 Park Avenue New York 10022

Auction License 2013224

Auction 450 Park Avenue New York 10022 Thursday, 16 May 2019, 5pm Admission to this sale is by ticket only.

Please call +1 212 940 1236 or email tickets@phillips.com

Auctioneers Hugues Joffre - 2028495 Sarah Krueger - 1460468 Henry Highley - 2008889 Adam Clay - 2039323 Jonathan Crockett - 2056239 Samuel Mansour - 2059023 Rebecca Tooby-Desmond - 2058901 Susan Abeles - 2074459 Aurel Bacs – 2047217 Blake Koh – 2066237 Susannah Brockman – 2058779 Rebekah Bowling - 2078967

Viewing 3 – 15 May Monday – Saturday 10am–6pm Sunday 12pm–6pm Sale Designation When sending in written bids or making enquiries please refer to this sale as NY010319 or 20th Century & Contemporary Art Evening Sale.

Absentee and Telephone Bids tel +1 212 940 1228 fax +1 212 924 1749 bidsnewyork@phillips.com 20th Century & Contemporary Art Department Head of Sale Amanda Lo Iacono +1 212 940 1278 aloiacono@phillips.com Cataloguer Annie Dolan +1 212 940 1288 adolan@phillips.com Administrator Brittany Jones +1 212 940 1255 bjones@phillips.com Copyright Administrator Chanah Haddad +1 212 940 1319 chaddad@phillips.com Researcher/Writer Martin Fox +1 212 940 1312 mfox@phillips.com Property Manager Ryan Falkowitz +1 212 940 1376 rfalkowitz@phillips.com Photography Jean Bourbon Kent Pell Mark Babushkin

Catalogues catalogues@phillips.com New York +1 212 940 1240 London +44 20 7318 4024 Hong Kong +852 2318 2000 $35/€25/£22 at the gallery Client Accounting Sylvia Leitao +1 212 940 1231 Michael Carretta +1 212 940 1232 Buyer Accounts Dawniel Perry +1 212 940 1317 Seller Accounts Carolina Swan +1 212 940 1253 Client Services 450 Park Avenue +1 212 940 1200 Shipping Steve Orridge +1 212 940 1370 Anaar Desai +1 212 940 1320 Daren Khan +1 212 940 1335

Front Cover Roy Lichtenstein, Horse and Rider, 1976, lot 7 © Estate of Roy Lichtenstein Frontispieces Andy Warhol at the opening of Flowers at Galerie Ileana Sonnabend, Paris, 1965. Photo Shunk-Kender © J. Paul Getty Trust. The Getty Research Institute, Los Angeles (2014.R.20) Roy Lichtenstein, 1966. Photographed by Steve Schapiro/Corbis via Getty Images Joan Miró, 1957. Photo © Michel Sima / Bridgeman Images Alexander Calder in his studio, 1968. Image © Horst TAPPE Fondation / Bridgeman Robert Motherwell photographed by Ugo Mulas, 1967. Image © Ugo Mulas Heirs David Hockney at the Theatre du Chatelet in Paris with the sets he designed for the plays Parade by Erik Satie and Les Mamelles de Tiresias by Francis Poulenc. Photo by julio donoso/Sygma via Getty Images Andy Warhol, David Hockney, 1974, lot 3 (detail) © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York Roy Lichtenstein, Modern Painting, 1967, lot 5 (detail) © Estate of Roy Lichtenstein Andy Warhol, 9 Flowers, 1964, lot 9 (detail) © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York Alexander Calder, Black Gamma, 1966, lot 11 (detail) © 2019 Calder Foundation, New York/Artists Rights Society (ARS), New York Andy Warhol, Two Coke Bottles, 1962, lot 4 (detail) © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York Tom Wesselman, Cut-Out Nude Study, 1965, lot 118 (detail) © 2019 Estate of Tom Wesselman / Artists Rights Society (ARS), NY Sam Francis, Untitled, 1988-1989, lot 119 (detail) © 2019 Sam Francis Foundation, California / Artists Rights Society, NY Andy Warhol, Flowers, 1964 (detail) © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artist Rights Society (ARS), New York Robert Motherwell, Open No. 119: In Blue with Charcoal Line, 1969-1972, lot 6 (detail) © 2019 Dedalus Foundation, Inc./Licensed by VAGA at Artists Rights Society (ARS), New York Fernando Botero in his Paris studio, circa 1982. Photo by PL Gould/IMAGES/Getty Images, Artwork © Fernando Botero Robert Rauschenberg in New York, 1961. Photo by Fred W. McDarrah/Getty Images Willem de Kooning in his New York Studio, 1962. Photo by Fred W. McDarrah/Getty Images, Artwork 2019 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York Tom Wesselman photographed in his studio, 1969. Photographed by Jack Mitchell/Getty Images Josef Albers, 1948. Photo by Arnold Newman Properties/Getty Images Jean Dubufet, 1951. Photo by Robert DOISNEAU Gamma-Rapho/Getty Images Timeline Letter to Miles and Shirley Fiterman from Fondation Maeght, 1981. Photograph courtesy of authorized representatives of Shirley Fiterman Andy Warhol, Two Coke Bottles, 1962, lot 4 © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York Gordon Locksley, Andy Warhol and Lady Anne, 1975. Photographed by Earl Seubert, Copyright 1975, Star Tribune Gordon Locksley and George Shea, 1969. Photographed by Donald Black, Copyright 1969, Star Tribune Alexander Calder, Black Gamma, 1966, lot 11 © 2019 Calder Foundation, New York/Artists Rights Society (ARS), New York Daniel Lelong, 2013. Photo © Jean Picon, Image courtesy of SayWho. Alexander Calder, White Versus Yellow, 1973, lot 15 © 2019 Calder Foundation, New York/Artists Rights Society (ARS), New York Andy Warhol, David Hockney, 1974, lot 3 © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York Andy Warhol, Soup Can, 1962, lot 13 © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York The Miles and Shirley Fiterman Gallery at the Minneaopolis Institute of Arts. Photograph courtesy of authorized representatives of Shirley Fiterman Andy Warhol, Shirley Fiterman, 1976 © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York Andy Warhol, Miles Fiterman, 1975 © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York Miles and Shirley Fiterman with Joan Miró’s Conque at their 5th Avenue apartment in New York.

Photograh courtesy of authorized representatives of Shirley Fiterman. Artwork © David Hockney Joan Miró, Conque, 1969, lot 14 (detail) © 2019 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris Agnes Martin, Untitled #7, 1977. India ink, graphite, gesso on canvas, 72 x 72 inches (unframed).

Collection Walker Art Center, Minneapolis, Purchased with the aid of funds from The Butler Family Foundation, Mark B. Dayton, Roderick McManigal, Dr. and Mrs. Glen D. Nelson, Mr. and Mrs. Miles Q. Fiterman, Art Center Acquisition Fund, and the National Endowment for the Arts, 1979. Collection Walker Art Center, Minneapolis. Artwork © 2019 Agnes Martin / Artists Rights Society (ARS), New York André Emmerich. Photographed by Renate Pensold.

David Hockney, Study from Parade Triple Bill, 1980, lot 12 (detail) © David Hockney Fiterman Hall, City University of New York, Borough of Manhattan Community College. Photo courtesy Justin B. Cohen Jean Dubufet, Arbre aux deux étages, 1970, lot 116 © 2019 Artists Rights Society (ARS), New York / ADAGP, Paris Installation view of the exhibition, Andy Warhol: A Retrospective, The Museum of Modern Art, February 6, 1989 - May 2, 1989. The Museum of Modern Art Archives, New York photographic archive, Photo: Mali Olatunji. Digital Image © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY, Artwork © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York Miles and Shirley Fiterman. Photograph courtesy of authorized representatives of Shirley Fiterman Back Cover Andy Warhol, Miles Fiterman, 1975 © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York Andy Warhol, Shirley Fiterman, 1976 © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York

Roy Lichtenstein Head oil and Magna on canvas 228.6 x 152.4 cm. (90 x 60 in.)

Executed in 1986.

Estimate HKD 20,000,000-30,000,000 Š Estate of Roy Lichtenstein

20th Century & Contemporary Art & Design Evening & Day Sales Hong Kong, 26 May 2019 JW Marriott Hong Kong Enquiries Isaure de Viel Castel IsaureDeVielCastel@phillips.com

Visit us at phillips.com Auctioneers since 1796.

Index.

Albers, J. 117 Botero, F. 10 Calder, A. 11, 15, 138, 139 Chamberlain, J. 126 Christo 130 Cornell, J. 113 de Kooning, W. 123, 124 Dine, J. 122 Dubufet, J. 116, 134 Francis, S. 119 Graham, R. 131 Hockney, D. 12 Hofmann, H. 121 Judd, D. 1 Kline, F. 120 Lichtenstein, R. 2, 5, 7 Matta, R. 135 Mirรณ, J. 14, 114, 115 Motherwell, R. 6 Nevelson, L. 129 Oldenburg, C. 127 Rauschenberg, R. 125 Segal, G. 133 Serra, R. 128 Stella, F. 132, 136, 137 Warhol, A. 3, 4, 8, 9, 13 Wesselmann, T. 118

Fernando Botero

Robert Rauschenberg

Willem de Kooning

Tom Wesselmann

Josef Albers

Jean Dubufet

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